AIRArchitecture Design Studio

Anna Williams539346

Contents Page

A

B

A. 1 Architectural Discrouse

A. 2 Computational Architecture

A. 3 Parametric Design

A. 4 Conclusion

A. 5 Learning Outcomes

C

Introuction

My name is Anna Williams and I am completing my third year of the Bachelor of Environments majoring in Architec-ture at the University of Melbourne. I was born and lived in England until the age of 10. At which time I immigrated to Australia and lived in Perth until 2011 when I moved to Melbourne to attend University.

One of the first buildings, which grabbed my interest in the field of Architecture, was the Sagrada Família in Barcelona. I remember being overwhelmed and enthralled by its size and general magnificence of it. Being only small I had ever seen anything so large with so many finer details. Since then I have been fortunate enough to travel throughout Europe, America and more recently parts of Africa. These journeys have allowed me to experience other cultures and become familiar with the different forms and shapes that Architec-ture can take.

Over my time at the University of Mel-bourne I have done several studio sub-jects including Virtual Environments, De-signing environments and Design studio Earth. The skills learnt in these subjects as well as Visual Communications have given me a basic knowledge of AutoCAD and Rhino. Throughout the Semester 1 want to delve deeper into the possibili-ties, which Rhino and Grasshopper pres-ent and be able to confidently say that I have in some way pushed the boundaries of what I understood to be possible in de-sign.

Architecture as A Discourse

‘What is architecture? was previously a straight-forward question, which could be answered in a straightforward manor.1 Architecture can no longer be viewed as anything that ‘encloses space on a sufficient scale’.2 With the constant evolu-tion of technology the barriers that once sur-rounded architecture no longer exist and mak-ing it ever more increasingly different to define.

Buildings as material objects are now only a small part of architecture. Instead of being considered purely in terms of the built form architecture can be examined in terms of the discourse (discus-sion), which surrounds it. Architecture should be regarded as a ‘network of practices and debates.’ These networks respond to the philosophical, social and professional context. The full breadth of what architecture entails can only be realized when the discourse is examined.

Because of technological advances architecture is pro-gressing and evolving at a rapid rate. This evolution in architecture means that the discourse surrounding it is also constantly changing and evolving. Through the exploration of the discourse, which surrounds ar-chitecture, we start to develop an understanding of the influences which architecture has on this world and how people respond to this.

The discourse surrounding precedents will be par-ticularly useful when completing our Gateway De-sign Project. While we must fulfill the brief we must seek to create something, which will be reacted to in a positive manor by the public.

1Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 1022 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 106

Precedent

The Jean-Marie Tjibaou Cultural Center located on the island of New Caledonia was designed by Renzo Piano and opened in 1998. It’s purpose was to com-memorate Jean- Marie Tjibaou as well as to respect the history and sensitivities of the past, present and future Kanak people. 3

The center is comprised of 10 wooden structures, which form a small village with each structure hav-ing a different function. These structures range from 20-28 m tall and 9-135m in diameter and are repre-sentative of the traditional Kanak large grass hut. The structures are composed of timber walls, which are supported by steel. The outer layers of the buildings are made of slats, which were constructed in indepen-dent panels and then attached to outside.

Renzo Piano was quoted as saying “In one sense, the project will never end. I think that buildings, like towns, are ‘infinite’ and non-finished constructions...that is why we should not fall into the trap of perfec-tion; architecture is a living creature which evolves with time and use...” 4

I find this idea of something not necessarily needing to be finished so that it can adapt and change very interesting. This leaves the cultural center open to new innovations and directions. Hence the cultural center cannot be judged as a completed piece.

The response to the cultural center by the local Kanak people is not to do with the built form but to do with what the building represents. To the Kanak people the building represents “the culmination of a long struggle for the recogni-tion of our identity, on the French government’s part it is a powerful gesture of restitution.” 5 Although I’m sure the design and aesthetic of the building was a positive aspect of the build-ing the main response is to the meaning behind the building and why it exists. Hence the dis-course surrounding it does not relate specifical-ly to architectural style. This may be something to consider for future projects; a building may be received positively due to what it represents and not the way in which it is constructed or designed.

The Jean-Marie TjibaouCultural centre

3 Discover Cruising, Jean-Marie Tjibaou Cultural Centre, updated 2012, <http://www.discovercruising.com.au/categories/activities/culture/amazing-architecture-jean-marie-tjibaou-cultural-centre-by-renzo-piano-workshop> (accessed 20th March 2013)4 Pacific Islands Report, Pacific Island Development Program with the support of the Pacific Islands Studies Unit, University of Hawai’i, Political Reviews, (New Caledonia, 2003)5Tjibaou cultural centre, Agence de developpment de la culture, ADCK 1998, English edition Australian Consulate General, Noumea 2000 pp 9.

Marie Tjibaou

Figure 1.

Figure 2.

Precedent The EdenProject

Figure 3.

Figure 4. Figure 5.

Design was taken to a new level in the form of the Eden project in Cornwall, England which boasts of world’s largest geodesic domes. The project was designed by Nicholas Grimshaw and was completed in the year 2001.

The project is composed of three main biomes; the humid–tropics biome, the warm temperate biome, and the moderate temperate biome which is the land surrounding the two enclosed bubble-like struc-tures.6 The main purpose of the project was to educated visitors of the importance of sustainability and environmental protection.

The structure of the design originally posed many challenges. The design had to be able to span a long way without the use of an internal support system. However this is what makes the design revolution-ary. The inspiration for the structure was taken from the honey-comb of bees. From this the idea of hexagonal pieces to form the surface was initiated. These hexagonal shapes were made possible though the use of 3D digital design models. Each hexagonal surface was the made 2D so that the hexagons could be fabricated. The glazed façade is made of Cushions of ETFE (ethyltetraflouroethylene). This material is extremely lightweight, while it also maintains strengths.7 The materials also needed to be translucent and allow enough light to pass into the domes.

The Eden project has shaped architectural discourse because it again pushes the boundaries of architec-ture. Every aspect of this design presents a new way of approaching the architectural form from the use of materials to the shape and structure.

Figure 6:.

6 Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013) p 27 Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013) p 3

Computation In Architecture

Before the renaissance architects were consid-ered craftsmen. Buildings were ‘constructed and not planned.’8 Proceeding this scaled drawings and models were produced and started to evolve. These were then seen as necessary stage in the de-sign process. Although the introduction of draw-ing and models allowed architecture to develop, this change is nothing compared to that which has occurred since the introduction of computation.

Nowadays technology is rapidly changing and ad-vancing. These changes in technology are “chang-ing architectural practices in ways that few were able to anticipate just a decade ago”.9 The advance-ments are transforming the world of architecture and creating more possibilities. For example until CAD NURB (non-uniform Rational B-Splines) surfaces were almost impossible to represent and manufacture.10 Today we see NURB surfaces in all parts of life from boat hulls, to cars. Architects are not only experimenting with structure and form but the function of a building. Technologies are allowing designs to become more forward think-ing and push more boundaries of what is possible, which ultimately pushes the architectural dis-course.

The process of design which is undertaken in the creation of architecture cannot however be solved from a purely rational viewpoint. The design processes that are related to architecture are ‘ill-structured’11 and needs to be solved with creativity and intuition. Although computers and many computation systems have amazing ratio-nal and search ability’s they lack ‘creative abilities and intuition’.12 This creative ability is something that humans possess. Hence humans and our behavior play an important part in architecture. Although computation plays an increasingly big-ger role in Architecture it should never be the sole contributor. With the advancement in computer software the contribution and impact, which hu-mans’ creativity and irrationally have on architec-ture, is sometimes left in the shadows. It might be easy in the future to become too dependent and focused on computation within architecture and design. I believe computation should merely be a tool should and not become the dominant con-tributor to architecture or the design process.

Figure 7.

8 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p 79 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 310Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 711Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 312Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p 2.

Precedent NationalBank of kuwait

Figure 8.

Figure 9. Figure 10.

The design for the National Bank of Kuwait also known as the NBK tower was designed by Foster and Partner’s. Being 300 m tall when competed in 201413 it will be was one the taller buildings on the Kuwait skyline.

The design of the building was aided through use of parametric modeling. The use of computation was necessary to explore the geometry and performance parameters. The geometric shape of the building is influenced by the climate of the surrounding area. The outside of the building consists of fins, which are orientated to provide shading for the East and West facades.14 The fins also provide structural support for the build and add to the internal aesthesis and layout.

In this building the use of computation was very necessary for the design of the fins. The parametric model of the fins is linked to a date spreadsheet. This spreadsheet inputs the engineering require-ments for the fins. The fins needed to be designed in such a manor so that they maintained the shape of the building while still being structurally sound. The fins then meet in the center of the building and form an arch. This arch is a very important visual aspect of the building. Another important feature of the building is the North facade, which undulates before being forming 3 arc’s.

The parametric model of the building was reproduced so that dif-ferent rendering techniques could be applied. These reproduc-tions produced an accurate visualization of what the building could look like and from these a final model was picked which was most visually appealing. Digitally the model also underwent a wind, solar and acoustic analysis. This assessed whether the design was effective and functional.

Figure 11:

13 http://www.skyscrapercenter.com/kuwait-city/nbk-tower/14 Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Precedent Musemo Soumaya

Figure 12:

The Museo Soumaya is a museum in Mexico City designed by Fernando Romero. The design was originally described as being ‘impossible to build’15 however through the use of laser scanning, parametric modeling and other algo-rithmic techniques the design was successfully made three-dimensional.

The most difficult aspect of the building was the irregular shape of the double-curved facade. Between the exterior cladding and interior shell sits a frame composed of unique struts. Figure 13 shows the way the elements within the wall.

The faced was originally comprised of 1600 unique hexagonal panels, which had been stretched so that an even gap was maintained between each of them. Because this was neither cost nor time effective the panels were then bro-ken down into two zones, which classed them as regular or curved. The panels were grouped into families depending on their geometry and displacement. The data for the panels was constantly being extracted and changed and the parametric modeling techniques made in pos-sible to easily adjust and change the panels until the facade created the desired effect.

The use of computation was critical in the construction of the building because it was the main tool of communication. All members of the team referred back to the model in order to examine finer details. The form of the building meant that the interior shapes were unpredict-able. The interior elements could not have been represented in a 2D manor and hence the rep-

Figure 13.

Figure 14: The structural system

15 Zwicker. D, Museo Soumaya has a Secret, Geometrica, updated 2011 <http://www.geometrica.com/en/museo-soumaya-has-a-secret#.UV2GCs2xceA> (accessed 9th March 2013)

P

Parametric Design

‘In parametric Design, it is parameters of a par-ticular design that are declared, not its shape… Equations can be use to describe the relationships between objects, thus defining an associative geom-etry…” Brank Kolarevic.16

Like many aspects of architecture it is hard to spe-cifically define parametric design. However this quote from Brank Kolarevic gives a good summa-tion. Parametric design is the set of limitations, which are placed upon a design.

As the boundaries of parametric design evolve so does the potential of architecture. Parametric mod-eling gives architecture the opportunity to change and evolve. ‘Parametric design brings fresh and new capabilities in adapting to context and contingency and exploring the possibility inherent in an idea.’ 17

One of the advantages of using parametric design is that it allows the designer to explore ideas and po-tentials while maintaining geometric precision. The model decreases the time taken to make complex changes to the buildings. It also acts as a form of communication for the entire team.

Parametric Design allows for the exploration of architectural discourse. The boundaries of what is possible can constantly be pushed and explored in depth. Parametric design allow architecture to reach the boundaries of what is possible within cer-tain conditions (restraints). It allows the collabora-tion of the creativity and intuition brought by hu-mans and the rationality of the system.18

Figure 15.

16 Kolarevic. B, Architecture in the digital age: design and manufacturing, (Taylor & Francis, 2003). P. 1717 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-4818Cebrorski, Jarroslaw, Introduction: Parametric Design, rethinking-architecture, updates 2011 <http://www.rethinking-architecture.com/introduction-parametric-design,354/> (accessed 25th March 2013)

Precedent

The Aviva is a 50,000 seat stadium situated in Dublin. The design from start to finish revolved around the parametric model. These models allowed the integration of the architects and engineers and allowed them to produce ad fabricate such an organic and unique design.

The Envelope of the stadium was created using the three geometrical components: numerical param-eters, static geometry files and a GC script file. These components created a graphical control system which produced the geometry of the stadium. The use of parametric modeling from the outset of the design process meant that once the stadium envelope was complete it was relatively easy to integrate the roof and cladding system. 19

The Aviva

Figure 16.

The Aviva In the design of the track (used for car races) specialized parametric systems were produced to try and create the best experience for spectators and drivers. A parametrically driven track and safety-barrier tool, was used in conjunction with a game simulation tool. These set the constraints to what the most ‘desirable’ circuit would consist of. 20

The use of parametric designed meant that teams could work in an interactive manor. Three-dimension-al models were passed between engineers and architects so that calculations and decision could be made to optimize aspects of the buildings. One of the most significant advantages of the parametric modeling tools was that the loads of he structure could be easily calculated and tested. This was particularly useful when testing against wind loads. If parametric modeling had not been used few tests and analysis could have been done relating to the load strength of the building.

The Aviva Stadium is the first stadium in the world to be designed from the outset to its completion using commercially available parametric software. The design was developed using Rhinocerous® and Generative Components™. It is interesting to note that they used the same program in we will use in this course. Until this point I had not appreciated the skills we were learning and thought that are abilities were inferior compared to that of working architects espe-cially ones designing large scale projects. However with time and practice on our skills in programs such as Rhino we have the ability to reproduce 3D models such as the one produced for the Avivia Stadium Design. Our opportunities our endless we just need to push ourselves and our skills.

Figure 17.

19 Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A parametric success’, International journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> (accessed 27th March 2013)20 Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated parametric design’, International journal of architec-tural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

Precedent

The curvature and unique surface of the grid-shell is a result of the implementation of BIM (building in-formation modeling) and parametric models. Parameters were set which controlled the form and detail-ing in the building. While modeling was initially used to rationalize problems and aid the complexity of the design it also became an instrumental part of the construction phase. From the model a construction sequence and could be formed and coordination problems were dramatically reduced. A 4D program was developed which outline the projected schedules. The parametric abilities of the program allowed the team to coordinate the building of the Hotel before it happened. This meant that any potentially problems could be identified and the parametric model changed to prevent these problems from arising. An example of this was the removal of a prefabrication bathroom pod. In the parametric model the pod was seen to clash with other elements on the grid shell and so it was removed.23 Although his procedure may seem fairly un-eventful is meant that the building could be produced and a relatively small amount of issues would arise.

Yas Hotel

The Yas Hotel designed by Asymptote Architecture is the first hotel to in the world to be built around an F1 race circuit.21 The hotel consists of two elliptical-shaped towers each rising 10 stories.22 The two tow-ers are linked via a sculpted steel bridge. The main feature of the building is the grid-shell, which cov-ers both towers and the remainder of the facility. The shell is designed as an environmentally friendly skin.

Figure 18

Figure 19.

21Asymptote Architecture, The Yas Hotel, 2009 <http://www.asymptote.net/buildings/yas-hotel/> (accessed 25th March 2013)22Wood, Hanely, <http://www.architectmagazine.com/projects/view/the-yas-hotel/347/> (accessed 27th March 2013)23David, Gerber and Burcin, Becerik –Gerber and Alex Kunz, ‘Building information modeling and lean construction’, International Group for lean con-struction, 2010 <http://ilab.usc.edu/documents/Gerber%20et%20al_FinalSubmission.pdf> (accessed 26th March 2013)

Figure 19.

Figure 20

Figure 21.

Conclusion

Learning Outcomes

Throughout the Expression of interest my views and opinions about computation and parametric design have changed dramatically. From the outset I believed that computa-tion stopped humans from using their imagination and thinking irrationally. However through looking at the precedents I have begun to see how in fact computation and para-metric modeling has enabled humans to be creative while pushing the limits of architec-ture. Many of the precedents could not have been designed let alone manufacture and built without the help of 3D modeling. I was surprised that my viewpoint has changed so dramatically over this short period of time.

Architecture cannot be completely understood without taking into consideration the dis-course. We must seek to look at architecture as a network of practices and view architec-ture as more than just a physical model. We must seek to look at the philosophical, social and professional context and understand how architectural discourse is produced. This information can then inform future designs. Computational Architecture and parametric modeling are tools in which we can use to push the boundaries of architecture and hence these tools can also be used to extend the architectural discourse.

ReferencesAsymptote Architecture, The Yas Hotel, 2009 <http://www.asymptote.net/buildings/yas-hotel/> (ac-cessed 25th March 2013)

Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013)

Bissegger. K, ‘The Eden Project’, 2006,<http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/EdenProject1.pdf> (accessed 1st March 2013)

David, Gerber and Burcin, Becerik –Gerber and Alex Kunz, ‘Building information modeling and lean construction’, International Group for lean construction, 2010 <http://ilab.usc.edu/documents/Ger-ber%20et%20al_FinalSubmission.pdf> (accessed 26th March 2013)

Discover Cruising, Jean-Marie Tjibaou Cultural Centre, updated 2012, <http://www.discovercruising.com.au/categories/activities/culture/amazing-architecture-jean-marie-tjibaou-cultural-centre-by-ren-zo-piano-workshop> (accessed 20th March 2013)

Cebrorski, Jarroslaw, Introduction: Parametric Design, rethinking-architecture, updates 2011 <http://www.rethinking-architecture.com/introduction-parametric-design,354/> (accessed 25th March 2013) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003)

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

Kolarevic. B, Architecture in the digital age: design and manufacturing, (Taylor & Francis, 2003)

Pacific Islands Report, Pacific Island Development Program with the support of the Pacific Islands Studies Unit, University of Hawai’i, Political Reviews, (New Caledonia, 2003)

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005)

References

Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A parametric success’, Interna-tional journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> (accessed 27th March 2013)

Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated para-metric design’, International journal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

The Skyscraper Centre, The global tall Building Database of the CTBUH, Council on Tall Buildings and Urban Habitat, updated 2012 <http://www.skyscrapercenter.com/kuwait-city/nbk-tower/AD magazine> (accessed 5th March 2013)

Tjibaou cultural centre, Agence de developpment de la culture, ADCK 1998, English edition Australian Consulate General, Noumea 2000

Wood, Hanely, <http://www.architectmagazine.com/projects/view/the-yas-hotel/347/> (accessed 27th March 2013)

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge)

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)Zwicker. D, Museo Soumaya has a Secret, Geometrica, updated 2011 <http://www.geometrica.com/en/museo-soumaya-has-a-secret#.UV2GCs2xceA> (accessed 9th March 2013)

FiguresFigure1- Endless architecture, jean-Marie cultural center’, 2010 <http://www.designbuzz.com/jean-marie-tjibaou-cultural-center-a-classic-exam-ple-of-green-architecture/> (accessed 2nd March 2013)

Figure2- Endless architecture, jean-Marie cultural center’, 2010 <http://www.designbuzz.com/jean-marie-tjibaou-cultural-center-a-classic-exam-ple-of-green-architecture/> (accessed 2nd March)

Figure3- e-architect, ‘The Eden Project England : Cornish Architecture Information’ , 2002 <http://www.e-architect.co.uk/england/eden_project.htm> (accessed 3rd March 2013)

Figure4- Klaus Knebel and Jaime Sanchez-alvarez and Stefan, Zimmermann, ‘The structural making of Eden’s Domes’, Space feeling, 2001, < http://www.mero-tsk.de/uploads/tx_cwtcartoongallery/Eden_Project_english.pdf> (accessed 3rd Match 2013)

Figure5- Klaus Knebel and Jaime Sanchez-alvarez and Stefan, Zimmermann, ‘The structural making of Eden’s Domes’, Space feeling, 2001, < http://www.mero-tsk.de/uploads/tx_cwtcartoongallery/Eden_Project_english.pdf> (accessed 3rd Match 2013)

Figure6- Mevagissy, ‘The Eden Project: Cornwall UK’, 2010, <http://www.mevagissey.net/eden.htm> (accessed 3rd March 2013)

Figure7- Perez, Carlos, The evolutionary computation design group and exhibition by Ram boll, Rhinoceros, 2011, <http://blog.rhino3d.com/2011/04/evolutionary-computation-design-group.html> (accessed 4th March)

Figure8-, Al-Shaab National Real Estate, ‘NBK Tower’, 2013 <http://www.nbktower.com/en/> (accessed 4th March)

Figure9- Kuwait China, ‘National Bank of Kuwait - New HQ - Mechanical Coupler Contract Signed on2012.9’, Kuwait china cooperation gen trading go, 2011 <http://kuwaitchinaco.sh-mingze.com/news/292.html> (accessed 5th March 2013)

Figure10- Kuwait China, ‘National Bank of Kuwait - New HQ - Mechanical Coupler Contract Signed on2012.9’, Kuwait china cooperation gen trading go, 2011 <http://kuwaitchinaco.sh-mingze.com/news/292.html> (accessed 10th March 2013)

Figure12- Wiseman, Adam, ‘Museo Soumaya, Mexico City,’ architects newspaper, 2011 <http://archpaper.com/news/articles.asp?id=5443> (ac-cessed 10th March 2013)

Figure13- Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Figure14- Xavier De Kestelier and Brady Peters, ‘Bridging a culture the design of Museo Soumaya,’ Architectural Design, 83.2 (2013) 66-69.

Figure15- <http://www.undergroundcity3d.com/uvod/forum/parametric-architecture-principles/> (Accessed 23rd March)

Figure16- Drywall Interior, ‘Aviva Stadium,’ 2012, <http://www.drywallinteriorfitout.com/projects/aviva-stadium> (accessed 23rd March)

Figure17- Shepherd, Paul and Hudson, Roly and Hines, David, “Aviva Stadium: A Case study in integrated parametric design’, International jour-nal of architectural computing, 2.09, (2010)<http://people.bath.ac.uk/ps281/research/publications/ijac_preprint.pdf> (accessed 26th March 2013)

Figure18- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure19- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure20- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)

Figure21- Moerman, Bjorn, ‘The Yas hotel,’ Asymptote architecture, 2009, <http://www.asymptote.net/buildings/yas-hotel/> (accessed 24th March)