STUDIO AIRSARAH TAN 541324

TuTOR: CHEN

NOT MY REAL COVER PAGE OBVIOUSLY....

table of contentsINTRODUCTION

PART A. CONCEPTUALISATION

A.1. Design FUTURINGA.2. DESIGN COMPUTATIONA.3. COMPOSITION/GENERATIONA.4. CONCLUSIONA.5. LEARNING OUTCOMESA.6. APPENDIX

PART B. CRITERIA DESIGN

b.1. RESEARCH FIELDb.2. CASE STUDY 1.0B.3. CASE STUDY 2.0B.4. TECHNIQUE: DEVELOPMENTB.5. TECHNIQUE: PROTOTYPESB.6. RECHNIQUE: PROPOSALSB.7. LEARNING OBJECTIVES AND OUTCOMESB.8 ALGORTIHMIC SKETCHES

PART C. DETAILED DESIGN

C.1. DESIGN CONCEPTC.2. TECTONIC ELEMENTSC.3. FINAL MODELC.4. ADDITIONAL LAGI BRIEF REQUIREMENTSC.5. LEARNING OBJECTIVES AND OUTCOMES

REFERENCES

01

02

071318242526

My name is Sarah Tan. I am a 3rd year Bachelor of Environments student, majoring in Architecture. Born and raised in Melbourne, I’ve always had a interest in art and design. My hobbies include drawing, graphic design and gaming whenever I have free time.

My experience with digital design is still somewhat limited and fundamental. While being relatively proficient in the Adobe Suite prior to this course my knowledge of CAD or 3D Modelling programs such as Rhino, AutoCAD and Revit is still very basic from my time in Virtual Environments, Visual Communication and Studio subjects.

I look forward to the opportunity of learning Grasshopper as an addition to my skillset. I believe it will be a rewarding program that will allow me to explore new technology and contemporary methods of creating architecture. A new paradigm, that will allow me to grow further as a designer.

INTRODUCTION

04

INTRODUCTION

part a. conceptualisation

part a:conceptualisation

05

Sustainability over the past several years has been the centre of much discussion with the growing concerns for our future and the toll human habitation has had on our planet’s ecosystems. “Creation and destruction is not a problem when a resource are infinitely renewable, but can become a disaster when it is not. “ 1

We have created this condition, reaching a point where now we must acknowledge the limitations of our resources counting to sustain us. In response we have begun to acknowledge the challenges faced ahead to make up for our ‘status quo’ and the sacrifices we have made to maintain our excessive standard of living. 2 We are currently in a phase of transition practice of sustainability has become more apparent in organizational agendas, however society at a large still seem disconnected and complacent with the issues.

So what is the role of designers in all this? Solutions are not found by chance but through confronting problems with “design at the front

line of transformative action.” 3 Design is the force that shapes our world, both how we see it and how it operates.

Design practice can be an agent to help realize a sustainable future but that alone is not what will secure it. In order for our efforts to be significant a change in thinking is required and design also has the power to do that. Through means such as architecture, we can engage with design to express a message that influences people social, cultural, ethical or even political ideas. 4 We’re not only rethinking about how we design but how we can use it as a medium to redirect attitudes and values.

These ideas will be integral to our project as we aim to create design with purpose, integrating sustaina-bility with the idea of it. How can we create an innovative design that will engross visitors to consider how their actions can contribute to ‘futuring’ no matter the scale, individually or collectively? 5 The end goal is to turn this vision of a sustainable city into a reality.

1

1-5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 6. Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014

PART A1

DESIGNFUTURINGDESIGN FUTURING | DESIGN GUIDELINES

07DESIGN FUTURING

The project was instigated from Echelman’sinterest in handcrafted material beginning with fishing net. She explores materiality with a new approach that seeks to create precise volumetric forms through soft materials. In order to achieve this she collaborates with professionals of other disciplines such as aeronautical engineers to further her understanding of material behavior and how to recreate her vision of the gentle movement within the wind’s choreography. (Fig.1) Furthermore she explores the variables of fishing net machines and methods of lacing. (Fig.2)

The shape of the 1.26 Denver is derived from data collected from a recent tsunami that had rippled across the entire Pacific Ocean. (Fig.3) She takes inspiration from this shockwave and links it back conceptually as an event that “connects” the western hemisphere. The shape resulting was far more complex than any of her previous works that it could not be represented optimally with the usual steel framework she had employed for her previous projects. 7 This required the search of a material that could maintain structural integrity while remaining soft enough to move fluidly in the wind. These qualities were found in Spectra® fiber 8, A materials of soft fine mesh 15 times stronger than steel that withstand the forces of nature.

However at this point in time there was no software that could explain how these complicated net forms would be modelled and how they work with gravity, so it had to be

1.26 DENVERJANET ECHELMAN

COLORADO 2012

097.Echelman, Janet, “Janet Echelman: Taking imagination seriously”, 2011. <http://www.ted.com/talks/janet_echelman>8.Echelman, Janet, “1.26 DENVER”, COLORADO, 2010. <http://www.echelman.com/project/1-26-denver/>

Fig. 1 Understanding the variables of fish net and methodogy behind patterns.

Fig.2 Aeronautical engineering that , learn-ing how to develop percise shapes in gentle movement.

Fig. 3Tsunami diagram data, imitation of rippling movement.

Later on in her career in another interdisciplinary collaboration, Echelman worked with Peter Boyer to create their own software a tool called ”JNet.” (Fig.5) It created this net sculpture while running a very fast but accurate simulations for form finding that could calculate structural forces as well as emulates the movement of wind through the net.

The program uses embedded information with the specific limitations of net weaving machines from prior exploration in order to ensure fabrication. An understanding of materials allows us to understand its confines so that they can be stretched. Designs are generated by working with this simulation that realistically represents real world parameters.

“You don’t know what you’re modeling until the simulation has completed. You have to “work with the simulation” quite directly in order to design.” 9

Peter Boyer

Through design process urban sculpture is created, one that invites people to linger and contemplate as it fills a void and punctuates a public space.”

The 1.26 Denver along with Echelman’s other works encapsulate a journey where she has taken the initiative to create something that is unexpected. She inspires us to explore the bounds of new materials and the advantage of working with other disciplines to realize a project that is both unique and innovative.

The sheer wonder of how form is made feasible is just one way she instills curiosity in the viewer. Through it we can learn a lesson on how to engage the audience, open their minds to discovering what lies in the intent of the design and perhaps educate them.

9. Autodesk. “Behind the Scenes of Janet Ec

Fig. 4 An early rendition of the software used to create these sculptural net forms. (2011)

Fig. 5 2014 Maya plug-in “JNet” able to simulate geometry, wind movement and lighting effects.

It functions so that when kids swing around the carousel, kinetic energy is released and captured through the structure which is stored in the battery underneath the site. (Fig.7) It responds to lighting conditions so that when darkness rolls over the carousel becomes illuminated through self-sustained energy collected in the day. The carousel’s has a varying spectrum of colours (Fig.8) that determine how much energy has been stored, creating a opportunity for two different experiences: at day a bold structure dressed in bright red and at night a feature of colorful LED lights. 10

This project’s goal was to develop a public space that was unconventional and could excite playful-ness in its users. Spanish architecture firm Ecosistema Urbano designed the Dordrecht Energy Carousel (Fig.6) in response to this brief which functions as an energy-generating chandelier with hanging ropes meant for the participation of children of all ages. The carousel shows an amalgamation of beauty and sustainability which is very relevant to our own goals for the LAGI Design.

01110. Wronski, Lisa. “Dordrecht Energy Carousel / Ecosistema Urbano” 25 Jan 2013. ArchDaily. <http://www.archdaily.com/?p=324125>

DORDRECHT ENERGY CAROUSELECOSISTEMA URBANO

Fig. 6 The Dordrecht energy Carousel by Ecosistema Urbano

The energy carousel isn’t merely a place of leisure but also hopes to be educational. Targeting children from an early age to learn about alternative methods for generating power and simple concepts of sustainability. It uses hands-on interaction allowing people to become involved with the energy process physically. The concept is direct hoping to make people question of what they can contribute to creating a sustainable future just as how their simple have been used to power the carousel.

The structure of the carousel also investigates efficiency of materials in construction to further highlight its design. It uses a limited amount of steel and instead tensile integrity is created through the use of ropes and textiles. 11

The design is not only sustainable but effectively communicates a means of interaction and en-gagement with the audience. I found interest in this design because it works as a public amenity regardless of its pragmatic design points. It is something that can exist outside the context of sustainability of well that makes it raw and attractive thus proving the tag line of LAGI that “Renewable Energy can be Beautiful”.

DENVER BOTANICAL GARDENSMARC FORNES ‘THEVERYMANY’ DENVER 2012

Fig. 8 Diagram of how energy operates at night.

Fig. 7 Diagram of how energy is collected.

11. Ecosistema Urbano. “ ENERGY CAROUSEL “ 2010<http://ecosistemaurbano.com/portfolio/energy-carousel/>

013

PART A2

DESIGNCOMPUTATIONTheories of the Digital in Architecture | Architecture’s New Media

The use of computers in architectural practice has had a profound change in the conception, realization and fabrication of designs. Technology has advanced to increase the intricacy and capabilities of design as we specifically study new emerging methods through design computation.

Traditional methods of the architectural design process through drawing and translating these ideas into a digitized entity preconceived in the mind of the design. This method referred to as a ‘top-down’ approach utilizes computers as a means for precision to sophisticatedly and accurately draft out design ideas. The process is termed ‘computerization’ and it vastly differs from the practice of computation in architecture.

Rather, Computation is defining this process as we know it as we shift from traditional methods of drawings to using algorithms in order to capture and communicate designs more effectively. Paramet-ric systems are used to create thinking based upon “a logic of associative and dependency relationships between objects and their

part-and-whole relationships”. 12It allows for experimentation and modulation of conditions in designs such as the porosity of surfaces as a parameter to control light penetration. Computation has the ability for ecological design and that responds to environmental contexts through the reading of data. It has capability to differentiate separate parts of a building to produce a new wave of tectonic and material creativity.

Design through computation boasts a new sort of complexity that simultaneously able to high generative variability in design solutions that is integrated with simulation software for energy and structural calculation. This allows us as designers to take on a more significant part in the goal of sustainability where we can design for efficiency. There is a clear logic behind the process of design which can prove advantageous in comparison to traditional methods. It streamlines the design process to give use more creative control that is supported by data analysis, over the danger and uncertainty of ‘top down approach” concepts.

12. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

9. Autodesk. “Behind the Scenes of Janet Ec

Over the past several years, Marc Fornes has created a reputation as a leader in development of com-putation through his designs defined by script driven typologies that defy typical conceptions of archi-tecture. He realizes geometrically complex and self-supporting structures with an artistic flair. He creates algorithms to create the thinnest and strongest structures possible, (Fig.9) the goal to design facades which economize materials and logistics a very pragmatic approach that beings to tackle ideas of sustainability.

The precedent we will be examining is the “Denver Botanical Gardens” one of his many experiments that research complex geometries with surface tessellation. It is scripted through algorithm, rules encoded into computational programs to which the results are guided by precise operations. The outcomes however are unpredictable, with many iterations. Fabrication is heavily considered in creating the complex forms being composed of flat elements. “Structural bark” that relies on the assembly of parts. (Fig.10) Together they form a skin of undulating surfaces which also works as a structure.

“In seeking to investigate and develop systems in which there is an integral relationship between models and concepts, a great source of knowledge lies in the design principles of nature”. 13Fornes’ designs are often interpreted as organic forms inspired of flowers, shells, coral however this is a mis-conception of the design process, that does not replicate the curvature but rather the principles of nature where “the designer simplifies those laws, adapts them, and makes them physical.” It is more than an imitation of appearance but producing a form which digitally responds to the environ-ment as a second nature.

015

DENVER BOTANICAL GARDENS MARC FORNES ‘THE VERY MANY’

DENVER 2012

13. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Fig. 9 Testing structural capcity when tensile force is applied

Fig. 10 Strip geometry for fabrication

Through design process urban sculpture is created, one that invites people to linger and contemplate as it fills a void and punctuates a public space.”

The 1.26 Denver along with Echelman’s other works encapsulate a journey where she has taken the initiative to create something that is unexpected. She inspires us to explore the bounds of new materials and the advantage of working with other disciplines to realize a project that is both unique and innovative.

The sheer wonder of how form is made feasible is just one way she instills curiosity in the viewer. Through it we can learn a lesson on how to engage the audience, open their minds to discovering what lies in the intent of the design and perhaps educate them.

Fig. 11 Shellstar Pavillion by MATSYS

Fig. 12 Form Finding Fig. 13 Surface Optimization

SHELLSTAR PAVILIONMATSYSHONG KONG 2012

01714. MATSYS. “SHELLSTAR PAVILION” 2012. <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>

The Shellstar Pavilion (Fig.11) is a lightweight temporary pavilion that maximizes its spatial performance while minimizing structure and material. Commissioned for Detour, an art and design festival in Hong Kong in December 2012, the pavilion was designed to be an iconic gathering place for the festival attendees. Located on an empty lot within the Wan Chai district of Hong Kong, the design emerged out of a desire to create a spatial vortex whereby visitors would feel drawn into the pavilion center and sub-sequently drawn back out into the larger festival site.

The Shell star pavilion is a lightweight parametrically modeled pavilion that maximizes the spatial per-formance in association to minimizing maerial and structural supports. The design process can be broken down into stages which were enabled by computational techniques.

The form-finding process (Fig.2) was generated through the use of Grasshopper and its physics engine plug-in Kangaroo. It is organized into catenary-like thrust surfaces aligned for structural vectors that would calculate the minimal structural depths required. 14 It’s surface was then optimized creating cells

that compose the structure that are able to maneuver by bending slightly during fabrication in order for the curvature to take shape. (Fig.13) Through python, cells could be unfolded and prepared for fabrication.(Fig.14)

The provision of parametric technologies has greatly simplified the design process of an otherwise complex form. Whilst some may hold the view that computing in architecture dampens creativity rather is the opposite. Computational tools have greatly increased the scope of design outcomes and what we are able to produce. It encourages creativity through providing a new doorway of opportunities.

While computer’s aid us in simplifying complex processes that the human mind cannot easily comprehend it is still us who controls how the script, “the recipe” of the design shall partake and it only us humans who have the instincts to judge whether a design is successful or not. While a computer may aid us in the generative process it also means we are designing in a meaningful ecological manner and it is us who will select what will go through to the final stage of design.

Fig. 14 Fabrication Planning

15,17-18. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-1516. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999).

PART A2

COMPOSITION/GENERATIONComputation Works: The Building of Algorithmic Thought| Definition of ‘Algorithm’

Computational design is rethinking an entirely new concept of designing where we see a shift of architectural practice and literal from on that is composition based to a generative one. Digital technology has been in existence for quite some time now but until recent years has been used to simply digitize existing procedures such a drawing with a result already “preconceived in the mind of the designer”.15 We are now moving forward from this mode of “computerization” to computation design which extends our abilities to “deal with highly complex situations as designers”.

Computational design works through the input of algorithms as opposed to a sketching of concepts to generate ideas. A designer inputs into the computer a “recipe, method or technique for the computer to process”. 16Algorithms design how a function is computed rather than what it is, which has been ap-parent in our ongoing study of Robert McNeel &Associates’ Grasshopper®.

Algorithmic thinking means taking on an interpretive role where we must comprehend how to perceive the results from a generated code and have the knowledge of how to modify it and its parameters so that we may explore different iterations to solutions and venture further into design potentials. For computational techniques to be beneficial they must be adaptable.

“We are moving from an era where architects use software to one where they create

software”.17

Brady Peters

Through computation Architects are now able to experiment with design in conjunction with building performance simulation. We are able to makes use of performance analysis that allows us to predict how materials, tectonics and certain parameters will affect the building. 18 Thus the development of computational simulation tools has facilitated us in creating more responsive designs. Meaning in architecture is constructed as an encounter between architecture, its environment and its users.

It functions so that when kids swing around the carousel, kinetic energy is released and captured through the structure which is stored in the battery underneath the site. (Fig.7) It responds to lighting conditions so that when darkness rolls over the carousel becomes illuminated through self-sustained energy collected in the day. The carousel’s has a varying spectrum of colours (Fig.8) that determine how much energy has been stored, creating a opportunity for two different experiences: at day a bold structure dressed in bright red and at night a feature of colorful LED lights. 10

019

DORDRECHT ENERGY CAROUSELECOSISTEMA URBANO

The ICD/ITKE Pavilion 2013 was an interdisciplinary project conducted by architects, engineers and bi-ologist to test the possibilities of biomimetic design strategies with the developments of robotic production. The design investigates “material and morphological principles of arthropods’ exoskeletons’ as a point of study.19 Computational design tools and simulation methods are used within the fabrication process to direct a robot into winding carbon and glass fibres. Taking inspiration from the biological precedent of fibre reinforced materials, the design seek to simulate and

integrate this into its form generation. The pavilion create a high performance structure so strong that its thickness is a negligible 4mm.

We can see evidence of a shift from composition to generation as the design follows a “bottom-up” approach, instigating a wide range of differ-ent subtypes of invertebrates. From this study of biomimic-ry, computation aids the process and in the 5 different patterns are generated for selection to be combined into this layered shell of fibers.

19. “ICD/ITKE Research Pavilion / University of Stuttgart, Facuty of Architecture and Urban Planning” 06 Mar 2013. ArchDaily. <http://www.archdaily.com/?p=340374>

ICD/ITKE RESEARCH PAVILIOnUNIVERSITY OF STUTTGARTSTUTTGART, GERMANY 2013

Fig. 15 ICD/ITKE Research Pavillion by the University of Stuttgart

021Fig. 16 Generative process of patterning and testing structural optimization

20-21. Hansmeyer, Michael. “Subdivided Columns - A New Order (2010)”. <http://www.michael-hansmeyer.com/projects/columns_info.html>

COLUMNS: A NEW ORDERMICHAEL HANSMEYER2010

Hansmeyer’s process involves creating an algorithm to design the structure of the Doric column. He uses a generative design process tweaking the algorithms each time where the result are columns that while follow a similar aesthetical rule do not actually share surfaces or motifs in common. Together they create a cohesive language shared in their materiality and fabrication process. Unlike traditional architecture its creation holistically as well as down to its microscopic surface details follows a single process.

It is clear that these form are unimaginable to the human rationale and are free from our limits, our preconceptions of forms. He too explores nature processes and extracts them into an abstract algorithm to create something new. In “Columns”, Hansmeyer experiments with an input for a subdivision process that distinguishes between individual components. Four cylinders were initially used in this algorithmic definition but each with its own distinct local parameter

settings. This process can be run again and again with altered parameters to create infinite permutations of columns. These permutations can be united into new columns, and can form a point of departure for new generations of columns. 20

“The architect assumes the role of the orchestrator of these processes.” Michael Hansmeyer

A full scale, fabrication of the model was constructed using 1mm sheets cut in a contouring manner and held together by poles running through a common core. 21

His work however is much more than just creating complex sculptures but also follows the method of computation in the way we design and build structures. Through this integration of mathematics and materials it too explores efficiency in materials and maximizing structural integrity.

Fig. 19 & 20 Diagrams of sliced plans within the column

Fig. 17 Initial 4 design generated outcomes

Fig. 18 Demonstration of Fabrication Process

CONCLUSIONDesigning for the future is in an unavoidable challenge we must face if we are to answer the prospect of a future that can sustain our standards of living. This project will tackle this issue with two tasks in mind. Firstly how can we design sustainably and the other how can we utilize the power of architec-ture and design to convey a ‘message’ that will be heard by the public. We have explored some prec-edents to answer these queries by analyzing other designers’ processes and achievements. This may be in breaking the boundaries or expectations of materiality to create structures that are efficient while still managing to be beautiful. It may be in the discourse of the design intent that seeks users to engage with a design so that they can begin to contemplate discuss the message we have which is this transition into a green culture. Not only on a socioeconomically level but so that it is embedded into our habits and ways of thinking. Our goal is to make people think not only the consequences of their actions but how they can spin them to make a positive contribution to the betterment of the world.

We also look into the evolution of design processes reflecting on the benefits of emerging computa-tion tools. These will be key to finding solutions, ones supported by the logic of data and within the constraints of parameters. With this we can design more efficient buildings, ones that a responsive to their environments. Through this journal we have looked into the conceptualization process and the shift of the industry towards innovative parametric architecture. There is much in favour in designing with computational tools and I believe they are not only the future of architecture, but the answer to the future itself.

LEARNING OUTCOMESIt was interesting to look into a new approach different from previous studios that were almost entirely concept based, without a deep consideration for the pragmatic aspects of architecture such as sustainability and structure. Through looking at precedents it revealed just how broad the range of possibilities there are for architecture. It encourages me to think more analytically about methodology and the significance of design.

Traditional processes seem to be becoming increasingly archaic and an ignorant way of designing. By experiencing tools such as grasshopper firsthand while overwhelming I believe it is just the begging to an insightful learning experience. To be able to control and simulate building environments we can create more responsible design that is not only more ecologically friendly but economically too.

REFERENCESBIBLIOGRAPHY

1-5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

6. Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014

7. Echelman, Janet, “Janet Echelman: Taking imagination seriously”, 2011. Accessed 09 Mar 2014.<http://www.ted.com/talks/janet_echelman>8. Echelman, Janet, “1.26 DENVER”, COLORADO, 2010. Accessed 09 Mar 2014.<http://www.echelman.com/project/1-26-denver/>

9. Autodesk. “Behind the Scenes of Janet Echelman’s Sculpture at TED Conference with Autodesk” 2014. Accessed 09 Mar 2014 < http://autodesk.blogs.com/between_the_lines/technology/>

10. Wronski, Lisa. “Dordrecht Energy Carousel / Ecosistema Urbano” 25 Jan 2013. ArchDaily. Accessed 09 Mar 2014 <http://www.archdaily.com/?p=324125>

11. Ecosistema Urbano. “ENERGY CAROUSEL “ 2010-2012. Accessed 09 Mar 2014 <http://ecosistemaurbano.com/portfolio/energy-carousel/>

12. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 helman’s Sculpture at TED Conference with Autodesk” 2014. < http://autodesk.blogs.com/be-tween_the_lines/technology/>

13. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 helman’s Sculpture at TED Conference with Autodesk” 2014. < http://autodesk.blogs.com/be-tween_the_lines/technology/>

14. MATSYS. “SHELLSTAR PAVILION” 2012. <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>

15,17-18. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

16. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999 The MIT Encyclopedia of the Cogni-tive Sciences (London: MIT Press), pp. 11, 12

19. “ICD/ITKE Research Pavilion / University of Stuttgart, Facuty of Architecture and Urban Planning” 06 Mar 2013. ArchDaily. <http://www.archdaily.com/?p=340374> helman’s Sculpture at TED Conference with Autodesk” 2014. < http://au-todesk.blogs.com/between_the_lines/technology/>

20-21. Hansmeyer, Michael. “Subdivided Columns - A New Order (2010)”. <http://www.michael-hansmeyer.com/projects/columns_info.html>helman’s Sculpture at TED Conference with Autodesk” 2014. < http://autodesk.blogs.com/between_the_lines/tech-nology/>

REFERENCESIMAGES

Fig.1 Echelman, Janet, “Janet Echelman: Taking imagination seriously”, 2011. Accessed 09 Mar 2014.<http://www.ted.com/talks/janet_echel-man>

Fig.2 Echelman, Janet, “Janet Echelman: Taking imagination seriously”, 2011. Accessed 09 Mar 2014.<http://www.ted.com/talks/janet_echel-man>

Fig.3 Echelman, Janet, “1.26 DENVER”, COLORADO, 2010. Accessed 09 Mar 2014.<http://www.echelman.com/project/1-26-denver/>

Fig.4 Echelman, Janet, “Janet Echelman: Taking imagination seriously”, 2011. Accessed 09 Mar 2014.<http://www.ted.com/talks/janet_echel-man>

Fig.5 Autodesk. “Behind the Scenes of Janet Echelman’s Sculpture at TED Conference with Autodesk” 2014. Accessed 09 Mar 2014 < http://au-todesk.blogs.com/between_the_lines/technology/>

Fig.6 < http://ecosistemaurbano.com/portfolio/wp-content/uploads/2013/02/ENERGY-CAROUSEL10.png>

Fig.7 < http://www.archdaily.com/324125/dordrecht-energy-carousel-ecosistema-urbano/>

Fig.8 <http://ecosistemaurbano.com/portfolio/wp-content/uploads/2012/12/ENERGY-CAROUSEL02.png>

Fig.9 < http://theverymany.files.wordpress.com/2011/12/130531_denver_truck2_ps_fornes_s.jpg?w=500&h=750>

Fig.10 http://theverymany.files.wordpress.com/2011/12/121204_denver_progress_ps_fornes_s.jpg?w=500&h=108

Fig.11 < http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7854-620x413.jpg>

Fig.12 < http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-1-620x388.jpg>

Fig.13 < http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-2-620x388.jpg>

Fig.14 < http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-3-620x387.jpg>

Fig.15 <http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/5136a8c1b3fc4b32a4000228_icd-itke-research-pavilion-university-of-stutt-gart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image04.jpg>

Fig.16 <http://www.designboom.com/wp-content/dbsub/370981/2013-03-04/img_2_1362435780_a8af1cecd17168f7e1486ba841ab3a65.jpg>

Fig.17 < http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#15>

Fig.18< http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1>

Fig.19 Hansmeyer, Michael. “Subdivided Columns - A New Order (2010)”. <http://www.michael-hansmeyer.com/projects/columns_info.html>

20-21. Hansmeyer, Michael. “Subdivided Columns - A New Order (2010)”. <http://www.michael-hansmeyer.com/projects/columns_info.html>