Jiayun li 617171 part a2 0

STUDIO AIR2015, SEMESTER 1, ALESSANDROJIAYUN LI (CATHERINE)

I was born in China, and came to Melbourne for University 3years ago. Now it is my last year of Bachelor study.

Choosing Architecture as my major is not an accident, when I was about to graduate from high school, a friend of mine who have already started to study at university told me that, ‘choosing a major you are really interested in and truly willing to work hard on will make your uni life much easier.’ I took that advice, and I looked at myself: many of my hobbies and interest are related to designing, painting, craft-making etc., and I was appealed by those kind of jobs which has certain amount of freedom, and not repetitive or boring. So finally, I chose Architecture, and I guess this is the best choice I ever made in my life.

Studying architecture really changes people. It is not like any other subjects where you just finish the homework and safely pass all the exams, it requires a lot of time and energy inside and outside the classes. People who study architecture tend to think about architecture all the time, I go somewhere and start looking at materials, form, massing, lighting, architecture has became a lifestyle,

Besides, it is also a profession that evolves constantly, in recent decades of years, the ability to handle softwares like CAD, Rhino, Revit becomes more and more important. In terms of parametric design and programming, I have only learned basic concepts from previous studios like Virtual Environment and Water, Earth… and only know little about grasshopper. It will be a tough semester, but I believe no pains, no gains. Hope through Air studio, I can become more proficient in using technology to communicate my design.

Self introduction:Jiayun (Catherine) Li3rd Year Bachelor of Environment, majoring in architecture.

Table of ContentsPart A CONCEPTUALISATION

A 0.0 Design Futuring p5A 0.1 Precedent project : Seed Cathedral p7

A 0.2 Precedent project : Cloud Powerhouse p9A 1.0 Design Computation p11

A 1.1 Precedent project : Taichung City Cultural Center p12 A 1.2 Precedent project : Composite swarm p14

A 2.0 Composition/Generation p16A 2.1 Precedent project : Subdevided columns p17 A 2.2 Precedent project : Parametric furniture p19

A 3 Conclusion p16A 4 Learning outcomes p16

A 5 Appendix- Algorithmic sketches p16

4 CONCEPTUALISATION

PART A : CONCEPTUALISATION“Conceptualisation begins to determine WHAT is to be built and HOW it will be built...”

CONCEPTUALISATION 5

Architecture as a discipline that tightly related with human

everyday life, has always contributes ideas to the ongoing disciplinary discourse and culture at large through design practices. Design is a complex system, the designer, designed object itself, image, form, material, operation, appearance… all those consisted as an entirety[1] .

The relationship between environment and design is of great importance, design has always contains social, historical and cultural impacts as well as influences to the development of future. Like Fry said, that history frequently repeats itself in tragic ways, a modern design was largely a product of appropriation of what was tacit in pre-industrial craft[2],

many of the problem we nowadays confronted with is a result of our past activities. Architecture as a form of design has undeniable responsibility to create things that help keep the sustainability of the earth.

Sustainability can be considered locally, nationally, and globally, designing a building is the same. Aside from pure fine-art design and the pursuing of the historic precedents, many other aspect of an architecture can be considered, like: whether it is material-efficient under the background of global shortage of energy and resource, what value has in brought to the site and its inhabitants, what can it bring to the future design. Only when we cares about those, can we start to design our future.

A 0.0 DESIGN FUTURING:Sustainability, Ethics and New Practice

“When we were small in number and our technological means of appropriating recourses were very limited, the impacts of out actions were low. But now we are numbered in billion, have extractive and materials processing technologies of absolutely enormous capacity coupled with an economy with an insatiable appetite, we are now confronting our nemesis- a defuturing condition of unsustainability.”

- Tony Fry (2009)

FIG.1: Environment and us, design futuring

6 CONCEPTUALISATION

FIG.2: Silvery hairs of the pavilion

The Expo is an annual event that introduce visitors with urban best practices and concepts from all

over the world. The organisers hope that it will be a lasting legacy for better urban life. The Expo 2010 was hold in Shanghai. The theme of the exposition at that year was “Better City – Better Life”. Among all the projects, the Seed Pavilion(Cathedral) is really impressive. This cube designed by Heatherwick studio is eye-catching, innovative and, unlike many of the other pavilions which lack any real point, combines both environmental awareness on agriculture, energy-saving with dazzling architecture and design.

Unique and revolutionary technology is put into the expression of design. The Seed Cathedral is a box, 15 metres high and 10 metres tall. From every surface protrude silvery hairs (see fig.2), consisting of 60,000 identical rods of clear acrylic, 7.5 metres long, which extend through the walls of the box and lift it into the air. Inside the pavilion, the geometry of the rods forms a space described by a curvaceous undulating surface. There are 250,000 seeds cast into the glassy tips of all the hairs.

The part I like very much about this design is its different beauty created during different times. By day, the pavilion’s interior is lit by the sunlight that comes in along the length of each rod and lights up the seed ends. cisitors can track the daily movement of the sun and pick out the shadows of passing clouds and birds and, when you move around, the light moves with you, glowing most strongly from the hairs that point directly towards you. By night, light sources inside each rod illuminate not only the seed ends inside the structure, but the tips of the hairs outside it, covering the pavilion in tiny points of light that dance and tingle in the breeze [3].

CONCEPTUALISATION 7

A 0.1 PRECEDENT WORKS: SEED CATHEDRAL

Shanghai Expo 2010, Heatherwick studio

FIG.3:Exterior looking of the pavilion

FIG.4: Internal looking of the pavilion

8 CONCEPTUALISATION

The Seed Cathedral is actually an upgrade of Heatherwick’s previous design , the Barnards Farm Sitooterie (a Scottish term for a small building to literally “sit oot” in.)The aluminium staves on the surface are arranged radially, the origin point being the centre of the cube. A single light source located at this central point emits light at night through every tube, causing the windows to glow. Even in the different situation, the basic design idea is still valued in a similar way to help exploring new way of solar energy use.

The Pavilion’s Afterlife is also imteresting, Heatherwick Studio reports that the Seed Cathedral has already found favour with the Chinese public, who have nick-named the pavilion ‘Pu Gong Ying’, which translates as ‘The Dandelion’ [4],”After the Expo, just as dandelion seeds are blown away and disperse on the breeze, the Seed Cathedral’s 60,000 optic hairs, each one containing the huge potential of life, will be distributed across China and the UK to hundreds of schools as a special legacy of the UK Pavilion at the 2010 Shanghai Expo.”

FIG.5:The Barnard Farm Sitooterie FIG.6: Internal looking of Barnard Farm Sitooterie

8 CONCEPTUALISATION

CONCEPTUALISATION 9

A 0.2 PRECEDENT WORKS: CLOUD POWERHOUSEMikolaj Scibisz, Cracow University of Technology

FIG.7 The Cloudhouse-Mikolaj Scibisz

CONCEPTUALISATION 9

10 CONCEPTUALISATION

Sustainability means not just durability and the use of natural energy resources such as natural lights and rain water, but to

create a place that people of the local community and visitors can identify and accept as theirs. With the rapidly growing of megacities and the need for new energy sources, climate change becomes an issue that need to be resolved in the urban context.

Designed by Mikolaj Scibisz, the main topic of the project Cloud Powerhouse is to revitalize a historic powerhouse building. The modern architectural design of the new part will represent dynamic sustainable development of technology and the social lifestyle with the respect to the historical building. Project scope involves analysis of the existing wall fragments to determine elements to preserve, together with the concept of the new part of the object. Motivation behind this project is to rise social awareness on importance of sustainability and alternatives energy sources [5] .

FIG.8: The Cloudhouse -West Elevation

FIG.9: The Cloudhouse-East Elevation

FIG.10: The Cloudhouse-Enery concept

The cloudhouse is a design under this background: as the warm air rises to the top, it unloads heat into the shell. The heat then radiates back down the shell thus generating only a two to four degrees variance in temperature from the bottom to the top of the dome. Rainwater is collected in water tanks in three massive steel legs, later used as a irrigation for the urban Garden. Big Flat rooF is covered with photovoltaic panels.

CONCEPTUALISATION 11

A 1.0 DESIGN COMPUTATION:Computation and generation

FIG.1: Parametric design and digital architecture

New technology advances in computer aided design and computer aided manufacturing has become

common in architectural field, new and unconventional designs have been made possible to be established.

Architecture in recent decades, has no longer to be looked at through the lens of engineer, to ensure that the building will remain standing and usable for years, or like buildings prior to the renaissance, a mater mason developed a simple schema, followed by the traditional patterns he learns as an apprentice and as a journeyman [1] . “The decade following Folding is …a period of discursive shift.”[2] , The term “folding”, created by Greg Lynn explained the design strategy which moved away from Euclidean geometry of discrete volumes represented in a Cartesian space and employs topological exceptions of form. Works during this period, for instance: Gehry’s Guggenheim in Bilbao, was ‘analog in design and digital in production, deconstructionist in mood but managed to satisfy a fluid logic of connectivity’, the design development was through drawing techniques, however the production of the design was digital. Then comes the period with the introduction of experimentation and movement away from monolithic structure to smaller scaled components. Accompanying this is also the time where parametric design arises.

As computation becomes a valid method of problem solving, the process of dealing with design issues has largely been based on rationality. Computers, which are purely logic based and unambiguous, have become a perfect tool to assist in providing alternative design solutions that could not have otherwise been calculated by humans. Besides the fact computers help provide solutions, it is also necessary to know that they are based on algorithmic calculations using variables which allows architects to create multiple instances of solutions with small changed to variables. This gives a clear view and a better understanding of how certain variables (individual elements in a system) can affect the design as a whole [3]. This changes design thinking to use technology as a tool, which directly integrated conception and production, rather than by drawing and transferred onto the computer.

As a result, more and more conceivable and achievable geometries becomes available to architects, accompany with the commitment to the curvilinear surfaces and blobs. However, as a opinion of my own, computation also has shortness, like: computation may limit designer’s creation by the use of digital programs, and to some degree, neglect the importance of architectural hand drawing skills.


A 1.1 PRECEDENT WORKS: Taichung City Cultural CenterTom Wiscombe Design

Fig.2 Taichung City Cultural Center



This proposal, which is one of the design entries to the Taichung City Cultural Center competition in Taiwan,

seeks to create a cultural space that simultaneously a destination and a gateway. By dividing the program into two distinct Figures, rather than a monolithic subdivided block, the designers allow for a visual and physical connection between the city to the north and Gateway Park to the south. The different character and silhouette of each Figure, along with their verticality, creates visually arresting interstitial spaces and views of city and nature.

A third object, the Canopy, connects the two Figures without fusing them into a homogeneous mass. The Museum Figure squishes up into the Canopy, while the Library Figure squishes down into the Canopy from above, creating mysterious elastic formal effects and complex sectional spaces. Despite these local deformations, the cornice height of the Canopy remains at 30m., which is the projected height of the convention center to the north, and also the height limit of the park side setback. This datum creates visual continuity with the urban corridor, helping to avoid the sense of detachment often associated with iconic buildings.

The Canopy varies in thickness from razor-thin to thick to allow for structural depth as well as inhabitable spaces. A Sky Deck is located inside the thickest area, connecting the Museum and Library at mid-level and allowing views out over Gateway Park. The design of the skin is influenced by the craft of stitching and seaming in fashion design, where joints are often employed for their visual figuration rather than simply to attach pieces of fabric together. The Canopy is broken down into a patchwork of super-joints which are sometimes real and sometimes fake. Super-joints sometimes track with underlying geometry and sometimes ignore it. The result is a chunky, varied tapestry rather than a relentless penalization aesthetic (see fig 3-5).[4]

The culture centre has a digital and parametric appearance with its irregular shapes. Although it looks that the program is made by computers, yet different from the second precedents, the designer has a clear idea of what the projects should looks like way before he starts to use computer as a tool to further the visualisation of the design. This process is more close to the definition of “computerisation“ , whose purpose is to increase the efficiency, while the computer itself didn’t participate in the process of problem solving like in “computation”.

FIG.3:Two object s: museum and the library

FIG.4: Canopy is added to connect the two objects

FIG.5:The skin texture of the canopy-stitching and seaming


Parametric design enables the architects to have a greater create collaboration with

the engineers, as the computerization process was able to present information of structure and energy. Some of architect began to look at nature to gain inspiration, natural design and digital morphologies are used to imitate the appearance of the organic principle.

Kokkugia is a studio whose research focused on generative design strategies and material experimentation. One of their project is called the Composite Swarm. The prototype is intended to test composite tectonics for the future application to larger architectural projects. It explored the relationship of robotic fabrication, composite materials, and algorithmic design. The complexity of the form and the excess of ornament make the prototype structurally efficient and minimize the amount of material used.

It is 2.5 meters tall, with a surface thickness of less than 1mm. A swarm algorithm based on the self-organizing behaviour of ants was developed for the project to negotiate between and compresses surface, structure, and ornament into a single irreducible form.

A 1.2 PRECEDENT WORKS: Composite SwarmKokkugia / Roland SNOOKS

FIG.6: the Composite Swarm


The project explored the relationship of robotic fabrication, composite materials, and algorithmic design. The complexity of the form and the excess of ornament make the prototype structurally efficient and minimize the amount of material used.


The installation combines a fiber-composite surface and flexible foam components. Both of these elements are too flexible to be self-supporting, however the combination of the two creates a highly rigid composite. The components imprint a network of small corrugations in the fiber-composite surface that provide structural depth. The structural strength is achieved through a combination of the pattern of corrugations and the double curvature of the overall surface. Paradoxically, it is the complexity of the surface and the ornamental patterns that makes the form efficient. Rather than attempting to simply optimize the structure the project explores how structure, surface and ornament operate together to form an expressive and efficient whole.[5]

The multi-agent algorithms developed for the project are based on the behavior of swarms and social insects such as ants. The surface of the installation is created through a digital swarm of components that are programmed to make a continuous (manifold) surface. The ornamental components are distributed with an algorithm based on the logic of ants that form bridges by connecting their bodies. The connection between components creates a complex ornamental and structural network. This algorithmic approach is part of Kokkugia’s Behavioural Formation design process that draws on the logic of swarm intelligence and operates through multi-agent algorithms.

Parametric design enables the architects to have a greater create collaboration with

the engineers, as the computerization process was able to present information of structure and energy. Some of architect began to look at nature to gain inspiration, natural design and digital morphologies are used to imitate the appearance of the organic principle.

Kokkugia is a studio whose research focused on generative design strategies and material experimentation. One of their project is called the Composite Swarm. The prototype is intended to test composite tectonics for the future application to larger architectural projects. It explored the relationship of robotic fabrication, composite materials, and algorithmic design. The complexity of the form and the excess of ornament make the prototype structurally efficient and minimize the amount of material used.


FIG.6: the Composite Swarm FIG.7: Variation of agents in the system


A 2.0 COMPOSITION & GENERATION:From composition to generation

As computation redefining the practice of architecture, architects are also evolving the development

of digital tools that creates more opportunities in design. As computers become a commonly used tool in design, design approach is also shifting from simple composition to a more complex generation.

Compositional design is the composition of elements as its literally meaning, for example an architect use the computer as a virtual drafting board making it easier to edit, copy and increase the efficiency of drawing [1]. In this design the designer and the computer has a relatively direct relationship. While in contrast, the generative design is more defined as a practice that use computer to process information through understating model which can be expressed as an algorithm [2]. The design, in this approach, becomes a thinking of architecture through the logic of algorithm.

This shift from compositional design to generative design leads the way for more design innovations through using computation method, designers a re no longer sketching by design, but “sketching by an algorithm”[3]. Most of the firms today has witness a shift in the upgrade of design digital tools in their design practices. From hand drawing to AutoCAD and then to today’s Rhino, Revit, Grasshopper, the programs are slowly integrating their way into architectural practice and a re brought from outside the practice.


A 2.1 PRECEDENT WORKS: Subdevided columns-a new order Michael Hansmeyer

Michael Hansmeyer describes himself as a computational Architect, using processes and methods grounded in

the virtual realm to invent new forms of architecture. He takes the algorithm – a set of mathematical procedures – and applies it to three-dimensional shapes in order to expand the vocabulary of inhabitable space[4].

One of the famous project is this Subdevided Columns in 2010. This project involves the conception and design of a new column order based on subdivision processes. It explores how subdivision can define and embellish this column order with an elaborate system of ornament.

An abstracted doric column is used as an input form to the subdivision processes. Unlike the minimal input of the Platonic Solids project, the abstracted column conveys a significant topographical and topological information about the form to be generated. The input form contains data about the proportions of the the column’s shaft, capital, and supplemental base. It also contains information about its fluting and entasis.The input form is tagged to allow the subdivision process to distinguish between individual components. This allows a heterogeneous application of the process, with distinct local parameters settings. In addition to distinguishing among

tagged components, the process parameters can be set to vary according to the input form’s topography as well as its topology.

In terms of difficulties, Michael mentioned in an interview that the biggest issue is the problem when moving from digital world to the physical one. “Obviously there is the problem with the huge amount of information, with millions of surfaces that you can’t even load into the computer without making it crash. On the other hand, something else daunting is what you mentioned before – because you have had so much freedom with virtual geometry, you have to go back and reconstruct things again. With fabrication, suddenly all these practical considerations come into it – we didn’t want pieces breaking off so we had to re-draw the edges, we had to hollow it out, or it would be too heavy.”[5]

This reveals a problem that many of the generative design may come up with is that paramatric design is still in relative inficiency when compare to torditional thinking, yet to some degree, it is also a factor that push the designers to develope more advanced ways to refine their design.

FIG.1: Subdevided columns (physical model)


FIG.2: Parametric texture of the furniture


The collection “Parametric furniture” is a project which includes several elements, one of them

is a “Parametric bench”. Bench made of plywood sections 18 mm thick, fastened together with iron rods, which are wound on the mounting bolts. This technology makes it relatively easy and cheap to do non-linear form. Also a big plus of this technology is that the sections of plywood form a pattern of lines on the general form making it more readable.Thin layers of veneered assemble through metal rods and give rise to parts to fluid elegance. Playing with curves and alternating solids and voids, these creations while ruptures develop in space.Generative design method was used in the design process creates a huge number of shapes. The final selection between the sections is made due to intelligent intuition based on the perception of the modern information field, some historical knowledge and pursuit of original beauty of the universe. “So that is the way the fluid elegance that, cannot be expressed in closed angular forms, begins to exist.”[6]

Today similar design with timber sections and parametric sections has been made, this form of design has no more just a single design idea but has become a design theme that many designers would like to attempt with different forms and variations. It echos with the ideas mentioned in Oxamn’s article that design evolves from tradition to more complex and non-euclidean geometry then to more Deleuzean forms[7]. As a typical represent of the generative design, the parametric furniture can gives us glimpse of the development of architecture as well , that is technology and new design strategies would bring us more possibilities in design and enable designers to further explore the potentials of this world.

A 2.2 PRECEDENT WORKS: Parametric Furnitures

Oleg Soroko and other designers

FIG.3: Parametric bench

FIG.4: The scate chair


A 3.0 CONCLUSION: Design approach and significance

Architecture is a vehicle for communication, and sustainability is an hot issue that requires us to take the responsibility as a designer. Architects are now taking advantage of the computer in new ways through experimentation with algorithmic and simulation-driven design. Computation Works focuses on this emerging theme in design practice, showcasing built and soon to be built projects and providing a state of the art in computational design.

The use of algorithmic and simulation-driven design raises important new questions on how is computation changing the way architects design? And how are they interact with each other. As parametric and generative design taking over the new architecture trend, more and more new buildings are designed with the help of computer soft wares, architects intelligently designing architectural objects based on relationships and rules, Rhino and CAD products greatly changes this industry and increased the efficiency. Learning generative design approach will definitely be a great help for architecture students’ future career.


A 4.0 LEARNING OUTCOMES: Experience and knowledge gained

After 4week’s learning, I found Grasshopper and Rhino is not that hard as I thought before, and is definitely more interesting than I had imagined. Grasshopper unlike other digital softwares I learnt before, Is more like programme making, it works together with rhino and is surely more powerful than rhino or sketchup. During these 4weeks’ study, I also found it useful to do the readings, with the help of lecture and readings, I had a better understanding of how and why computation, parametric, generative design is important and how architecture can be related to those definitions. The part I like best is the study of precedent works. Through looking at those masters; works, we can have a direct and well understanding of how computation is out into practice. Through reading the designer’s concept, we can get to know how computation is affecting design process and the on-going, incoming changes with in this industry. Also it is enjoyable just to look at those elegant designs and ideas. This would also be an help inspiration to our future design.


A 5.0 APPENDIX-ALGORITHMIC SKETCHES:Interesting examples from weekly exercise

The first exercise aims to get us be familiar with the use of Grasshopper and to create several vase-shape forms . Through this exercise, i had a better understanding of how Grasshopper is functioned, how it works to produce an model that is defference from Rhino.


This exercise aims to building a pavilion (freeform surface) on the site of Merri Creek depending on attractors. On the tutorial , i found this exercise really interesting, because i can clearly feel how the algorithmic form changes with the variation of the values. This exercise also helps me get to know how the computation design means, and how it reveals the relationship of computer, design and design outcome.


Reference:

Journals:

A 0 Design Futuring [1] Fry, Tony,’ Design Futuring: Sustainability, Ethics and New Practice ‘ , Oxford: Berg (2008), p2.[2]Fry, Tony,’ Design Futuring: Sustainability, Ethics and New Practice ‘ , Oxford: Berg (2008), p18[3]Heatherwick Studio, ‘UK Pavilion’, Heatherwick studio, (2010), http://www.heatherwick.com/uk-pavilion/4]Leonora Oppenheim, ‘Awe Inspiring Seed Cathedral Wows at Shanghai World Expo 2010’, (2010) http://www.treehugger. com/sustainable-product-design/awe-inspiring-seed-cathedral-wows-at-shanghai-world-expo-2010-photos.html[5] Mikolaj Scibisz, ‘Cloud Power House’, Sustainability,(2012). http://www.arch2o.com/cloud-power-house-mikolaj-scibisz/

A 1 Design Computaiton[1] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, pp7[2] Oxman, Rivka and Robert Oxman, eds Theories of the Digital In Architecture, New York: Routledge (2014), pp. 1[3] Oxman, Rivka and Robert Oxman, eds Theories of the Digital In Architecture, New York: Routledge (2014), pp. 8[4] Taichung, Taichung city cultural centre, (2013) http://www.tomwiscombe.com/project_009.html[5] Kokkugia, Composite Swarm, Melbourne(2013) http://www.kokkugia.com/Composite-Swarm

A 2 Composition/ Generation[1-3]Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), p. 08-15 [4] Michael Hansmeyer, ‘Subdivided Columns - A New Order, (2010) http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0#undefined[5] Lawrence Lek, ‘Interview With Michael Hansmeyer,(2012). http://www.thewhitereview.org/interviews/interview-with-michael-hansmeyer/[6] Oleg Soroko, ‘Oleg Soroko chair’, (2014), http://www.archello.com/en/product/soroko-chair[7] Oxman, Rivka and Robert Oxman, eds Theories of the Digital In Architecture, New York: Routledge (2014), pp. 6


Figures:

A 0.0 Design Futuring Fig.1: Environment and us, design futuring , http://www.sustainable.com.auFig.2: Silvery hairs of the pavilion, http://www.heatherwick.com/uk-pavilion/ Fig.3:Exterior looking of the pavilion, http://www.heatherwick.com/uk-pavilion/Fig.4: internal looking of the pavilion, http://www.heatherwick.com/uk-pavilion/Fig.5:the Barnard Farm Sitooterie, http://www.heatherwick.com/barnards-farm-sitooterie/Fig.6: Internal looking of Barnard Farm Sitooterie, http://www.heatherwick.com/barnards-farm-sitooterie/Fig.7 The Cloudhouse-Mikolaj Scibisz, http://www.super-deformed.net/cloud/Fig.8: The Cloudhouse -West Elevation, http://www.super-deformed.net/cloud/Fig.9: The Cloudhouse-East Elevation, http://www.super-deformed.net/cloud/Fig.10: The Cloudhouse-Enery concept, http://www.super-deformed.net/cloud/

A 1 Design ComputaitonFig.1FIG.1: Parametric design and digital architecture, http://designmorphine.com/?page_id=783Fig.2-5: Taichung City Cultural Center,http://www.tomwiscombe.com/project_009.htmlFig.6-7: THE COMPOSITE SWARM, http://www.kokkugia.com/Composite-Swarm

A 2 Composition/ GenerationFig.1: SUBDEVIDED COLUMNS (PHYSICAL MODEL), http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0#undefinedFig.2-4: Parametric furniture, HTTP://WWW.ARCHELLO.COM/EN/PRODUCT/SOROKO-CHAIR

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