Air journal

1

Architecture Design Studio 2014/Semester 1

Tutor/ChenNingyu Gui 539789

air

2

contents

About Myself

PART A. CONCEPTUALISATION

A.1. Design Futuring A.2.DesignComputation A.3.Composition/Generation A.4. Conclusion A.5. Learning outcomes A.6.Appendix-AlgorithmicExplorations

3

About Myself

My name is Ningyu Gui (Gavin).

I am a third year environment student major in architecture.

I come from Shanghai, China.

I had never thought about to be an architect before I went to uni-versity.InVCEIdidnottakeanysubjectrelatedtodesign.AfterI

tooksomearchitecturecourseinuniversity,IfoundthatIamgettingmoreandmoreinterestsinarchitecturefield.

Thestudyonarchitecturegavemeapuredifferentview.BeforeIwouldconsiderarchitecturedesignisjustaskillonaestheticand

fancy design. However, the reality is not. Architecture means more. Tobearealarchitectneedsalotofknowledgeandpractises.

It is a long way to go.

4

To be honest, I had only two years experience on architecturefieldafterIcametouniversity.Iamlackofhanddrawingskills,andIamstillpractis-ing and try to improve my hand drawing skills.

The good thing is that new technology helps me to model and express my ideas when I could not express my idea on paper well in some case. Sketch-upisprobablythemainsoftwarewhichIuse for modeling, as it is easy to handle.

For the first time known about Rhino was inVirtual Environment. At that stage, concept like NURBSwasacompletelynewideaforme.Afterasemester’slearningandpractise,IgotfamiliarwithsomefunctionofRhino,butRhinoisstillnothandy for me now. However I have heard about parametric design in recent years and knew that Grasshopper + Rhino is a good tool for designing.

Boathousedesign,learningfromRemKoolhaasADS:Water, by sketch up

5

Design Futuring

A.1.

6

DESIGN FUTURING

“DESIGNASAKEYFORCEOFREDIRECTIONTOWARDSUSTAINABILITYINORDERTOMOVEFROM‘SUSTAINABLEDEVELOPMENT’TOTHE‘DEVELOPMENTOFTHESUSTAINMENT’”

Our planet has been facing global environmental issue regarding to climatechangeleadstogreenhouseeffect.Wehumanhaveinevitableresponsibilitytotakethelargeconsumptiononenergies.Itisimport-antforustorealizethatthefutureforournextgenerationisgoingtobeharsh.Thereforewemuststartstoreactandpreventthecriticalmoment in our existence. The only way to solve the problem is design, thatisdesignagainstthedefuturing.Fryarguesthatthefirstinstancein design has to be understood anthropologically. This encourages de-signer to communicate and engage the complexity of the designing issue as a world-shaping force^1. It is important for designer to work interdisciplinaryandunderstandthecriticalsituation.Designershouldhave future vision designing ‘sustain-ability’.

AccordingtoFry’spointofview,thedesignagainstdefturingisnota‘howto’question,asitactuallyrequireshavingaclearsenseofwhatdesign needs to be mobilized for or against. In other words, we have to change our thinking^2.Designer should understand whenever we bring something into being we also destroy something. Therefore, we need to expand design thinking to use renewable resources. As archi-tectureplaysalargepartofhumanactivities,itisessentialtolinktheidea renewable resources and sustainability into our design process.

Architectureasapracticeofshapinghumanhabitats,thiswillcreateopportunity for architect to experiment and create sustainable proj-ectinordertoinfluencethehumanactivitiesandideologies.Itisourresponsibility to design projects regarding to minimize the use of ma-terial and energy but also maximize the sustainability. A sustainable thinking should always become part of main design goals. We have ability and responsibility to change the way of human being.

1.Fry,Tony(2008).DesignFuturing:Sustainability,EthicsandNewPractice(Oxford:Berg),p32.Fry,Tony(2008).DesignFuturing:Sustainability,EthicsandNewPractice(Oxford:Berg),p4

7

Precedent Project 1

LOUISIANA PAVILION3XN ArchitectsDenmark,2009

FIG1

8

Aspartofthe‘GreenArchitecturefortheFuture’exhibition,3XNarchitectsdesignedacuttingedgepavilionwithsustainableandintelligentmaterialsin2009.3XNchal-lenged public understanding of sustainable architecture; the pavilion uses biodegrad-ableandenergy-generatingmaterialstobuild.

Theprojectisanenergy-self-sufficientarchitecture,thatgenerateselectricitytopow-er the integrated LED lights. It used intelligent materials to achieve this process, it has1mmflexiblesolarcellsonthetopsurfaceofthepavilion,andsoitcanconvertsolartoenergy.ItalsoconstructedwithPiezoelecticmaterialtoallowvisitor’sweightto generate electricity. This is a smart design, as it allows public to engage and have a discourse of how architecture could create sustainable lifestyle. The pavilion also havetwolayersofspecialcoating,oneisthehydrophilicnanoparticlecoatingwhichensurestheself-cleaningofthepavilion;thesecondcoatingaddsaircleaningtothepavilion, which can decompose up to 70% pollutants from industrial smog. The pavil-ion uses phase changing materials that enable heat retains and releases at exact 23 degrees.

The pavilion is a great example of what and how architecture could deal with sus-tainability.Fromitsdesignintentstomaterialandfinalfabrication,theentireprocessbringsthearchitecturetofuturethinking.Thedesignprocessnotconventionallycom-promisewithreality.Theprojectisgreattoengagethepublicattentionandgeneratediscourse of what could sustainability cooperate with architecture design.

FIG2 design concept of the pavilion

notesfromhttp://www.3xn.com/#/architecture/by-year/145-louisiana-pavilion

9

Precedent Project 2

SWINGMoradavaga

Guimarães,2012

FIG3

10

Theproject isaninteractiveandplayful installationbyMoradavaga.Theproject in-volvestheideaofelectricitygenerationtopowerthelights.Theideaofthisprojectistogeneratepublicinteractionwithenergyproduction.Thedesignerinspiredfromthe industrial history of Guimaraes, and created the industrial machinery feeling with traditionalmaterialssuchaswoodandropes.Theintentistousemachinerysoundsto raise discourse in local community.

Thekeypartofthisdesignistheactionofswingcouldcreateenergy,becauseeachswing would drive the wheel to move and generate powers. From the background study,itshowsthattheinitialintentwastoattractchildrentoplayandprovidethemknowledge of renewable energy and sustainability. However, the project actually at-tracted many adults to join. People are curious and interested in the mechanism of theworkandthesound.Theprojectisquiteattractivethatmanyvisitorssharetheirstoriesandadvisestoimprovetheenergygeneration.Manylocalschoolswouldbringstudentstostudytheprojecttogivemorevisionontherelationshipbetweenartworkand technology.

From the cultural and social factors, this project is successfully raise the community interest on renewable energy on architectural and artworks. It is impressive for de-signerstodothesimilarattempts,asarchitecturecanraiseattentionanddiscourseforlocalpeopleandinordertoinfluencethehabitantoftheirlivingstyles.

FIG4

notesfromhttp://eco-publicart.org/swing/

11

Design Computation

A.2.

12

Before Renaissance, architects act more like a mas-termasonry. Theirprecise craftsmanshipdefined thebuilding itself. The meaning of building relies on the craftsman skill. Scaled drawing andmodel brought anew design process after Renaissance. It gives archi-tects the ability to adapt any change faster than before. Thus architect put more focus on thinking and analysis to their design. Architects are no longer bother with building skills any more. Architecture design process becomes more like a problem solving. There is no any rationalwaytosolveit,astheyconfrontthedesignerwithuncertainties.AccordingtoKalary’sidea,architec-turedesignreliesonboththeanalyticalandcreativetoproducesolutions toproblemsthatcannotbesolvedwith one facility alone^3.

Nowadays digital technology has been introduced into ourlife,andcomputationaldesignhasbeenusedinar-chitecture. The design process is not just a thinking and problemsolvingprocess;nowitisa‘digitalcontinuumfrom design to production, from form generation tofabricationdesign’^4.Computationaldesignredefinesarchitect to become problem solver/designer with craftsmanskill.Computationaldesignisasophisticatedscriptingprocess involvingthethinkingofenergyandstructural performance conjunction with materiality.Architect can directly facing the issue of structural in futureconstruction,whichmeansanyconstructionis-

sue and feasibility could be foreseen and solved during the design process. Digital computation is the newlinkagesbetweenconceptionandproductionthroughrapid fabricated prototyping^5. It also renewed the architect’straditionalroleasthemasterbuildingwiththe understanding and ability to digitally create in the material realm^6. Form generation can relies on thevariousfactorssuchasperformativitydesign,tectonicmodels and digital materiality; it becomes an integrat-ed process in design.

However, computer unlike human brain, they have no any individual ability to self-analyze problem and lack ofcreativityatall.“Theycanonlyfollowalineofrea-soningtoitslogicalconclusion,”^7.Mostofthedigitaldesignsoftwarehelpdesignermodelingquicker;com-municates and share ideas faster; digital design pro-vides a more accurate way to create something which human would take ages to do. Geometry is no longer limited to square, circle, triangle or other common forms. Computational design can create formswhichhumancannever imaginedbasedonNURBS. Indigi-tal design process, the limit of computer is its ability of creativity,itonlyhelpstocalculateandachieveresultsfromscripts.Themostimportantthingincomputation-al design is the ability of logical thinking from designer.

DESIGN COMPUTATION

3.Kalay,YehudaE.(2004).Architecture’sNewMedia:Principles,Theories,andMethodsofComput-er-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 4.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York:Routledge),pp.45.6 .Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; NewYork:Routledge),pp.53.Kalay,YehudaE.(2004).Architecture’sNewMedia:Principles,Theories,andMethodsofComput-er-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

13

MUSEOSOUMAYAFernando Romero /

MauricioCeballosMexico City, 2011

Precedent Project 1

FIG5

14

Museo Soumaya is located in Mexico City and designed by Fernando Romero and Mauricio Ceballos. It is a one of the largest private art museum in the world, and the design intent for this project is to reshape an old industrial area of Mexcio city by this large curved container like museum. This project is an example of how computation design has been employed to achieve the design outcome in structural, facade and forms.

Hexagonal aluminum panels compose the facade of this building. It came up a challenge, as the facade structure was decided and being assembled in 26 curving structural columns. Therefore, the design team employed a computational tool to solve the problem, that is ‘Gaussian analysis’. It used computer to analysis and study the size and angels of each panel dealing with the curved structures. This computational process resulted over 16,000 unique hexagonal panels to solve the problem. The entire analysis process was all done by computer, as it saved plenty of time but also provide precise and rational outcome that can be built. It finally comes out more than 14,000 individual panel drawings for its facade. Laser cut machine would cut precisely for each panel and it guaranteed the efficiency and cost can be predicted. The design team can also handle the entire mechanical system, ducts, structure and piping as a central 3-D model coordinates the project. It allowed the team to control and react the real time change or issues much quicker than traditional 2-D drawings.

Computational design can also allow different teams to work simultaneous. As it has a central 3-D model, different design team can access the real time information for their own needs. It accelerates and simplifies the design communication and share precise information all times. Computational design provides a holistic and integrated way to deal with multi complex architecture through design to fabrication.

FIG6 the installing guild of panels

FIG6 the installing guild of panels

notes from L02 - Museo Soumaya

15

TVERRFJELLHYTTAHjerkinn, Dovre Municipality

SnøhettaOsloAS,2011

Precedent Project 2

FIG6 the installing guild of panels

FIG6 the installing guild of panels

FIG7

16

Tverrfjellhytta, is the wild reindeer center pavilion locates in Hjerkinn Dovrefjell National Park. It is a 90 square meter building opens for public and serving the Wild Reindeer Foundation educational programs. It is a shelter but also a warm place for viewing the Dovrefiell Mountain. The amazing natural environment and its rich cultural background inspired the architects to design. The most significant part of this architecture is the interior design by unique milled timber strips.

The exterior form is made by the rectangular frame in raw steel and the iron was found in the local bedrock. The interior is consisted by timber, which is also organic and local material. Unlike the normal and boring exterior form, the interior design is in truly unique. Hundreds of different sized timber strips were milled by exclusive designed milling robot, Kuka Ha100. The robot is driven purely in digital data, as it can precisely mill a timber to the required size. Every single timber inside is master controlled by the 3D computer modeling. The use of computational design tool allows the design team can predict and control their cost and quality on their project, it means the material waste would effetely low as the robot could mill precisely.

As well as other projects, computational design can allow the design team to share their information in real time. It saves time and money on doing change. The material performance and quality control could rapidly done by iteration prototyping and test. The advanced computational design encourages designer to create unique forms and gives new life to ordinary timber material. Without the help of computer, this project would be very difficult to design and even harder to construct. As every single unique timber needs accurate design and calculation, human hands and every minor mistake would leads to a failure of the entire project. The integrated computational design process seamlessly help designer create an master piece again.

FIG8 Milling by robot

FIG9

notesfromhttp://www.archdaily.com/180932/tverrfjellhytta-snohetta/

17

Composition/Generation

A.3. FIG8 Milling by robot

FIG9

18

Compositionisthetraditionalwayofarchitecturede-sign has been used as a design method through a long time.Itusuallyusesfewelementstostartswith,suchas space and mass. Architecture design is a process of problemsolving, and itusually setsupwithdifferentboundaries to narrow the design outcomes during the process. Theway of achieving a better result usuallyfocusfromaestheticandfunctionway.However,thosefactors added into the design process usually create certain rules to architects, so it is obvious to see that the form and plan did not change a lot from last few centuries.Architectsarerestrictedtouseconventionalform and geometry forms to design and think, as com-positionalapproachisatooltograduallyaddrestrictstominimize thepossibleoutcomesandfind theonlyone.

However, thegenerationdesignprocesshasbeen in-troduced since the digital technology developed. The design thinking of generation is completely differentthen traditionalcomposition.According toKolarevic’sidea,generativedesignstartswithaninternalgenera-tivelogic,whichthenproduces,inanautomaticfash-ion, a range of possibilities fromwhich the designercould choose an appropriate formal proposition forfurther development^8. It is opposite compare to the compositionaldesignprocess,whichusuallystartswithanexternalform.Generativedesignusescomputation-al design tool to generate form through parametric design, and composition uses computerizing tool tohelprepresenttheimaginedform.Generationprocessopens and widens the territory, which gives various possibilitiesratherthannarrowdownthepossibilitytooneincompositionalprocess.

COMPOSITION/GENERATION

According to Woodbury, parametric design is that ev-ery parts of a design is related and linked to each other andeverypartsofchangewould influenceeachoth-er tougher in a coordinated way^9. The act of change would needs to be thinking over with related parts. Therefore the design process is more like making a program or script. Designer has control on every part of component, and those algorithmic data could link withotheranalyticorexperimentalsoftware.Designercould generate architecture that integrated with ma-terial, structural, environmental and other issues. Any infeasibleormistakemadeindesigncanbefixedmuchfasterthantraditionalwayofdrawing.Itprovidesgreatefficiencyfordesignerandsavetimes.Thegreatsavingontime,anditsefficientwouldgiveadvantagesforde-signers,butontheotherhand,itwillreducethetimefordesignertofindaprefectwaytotransfertheirde-sign into reality. ^10Additionally, parametric design can generate muchmore forms which designer could not easily draw or presented.Themanipulationofalgorithmwouldformdesigner large amount of variable elements to test and compare. The appear of parametric design frees de-signer’smind from traditional geometry forms. Para-metricdesignprovidesaplatformfordesignertohaveafullythoughtonpsychologyofperceptionintotheirdesign. ^11

However, there are also some disadvantages on the generation.Asitrequiresthedesignertotransfertheiridea into algorithmic scripts, which means it requires high skills of understanding the algorithm. It creates barrier for some of the desingers. And also, designers would feel hard to understand the scriptswrittenbyothers, which would sometimes create difficulties incommunication.

8.Kolarevic,Branko,ArchitectureintheDigitalAge:DesignandManufacturing(NewYork;London:SponPress,2003) Suggested start with pp. 13

9.Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by RivkaOxmanandRobertOxman(London;NewYork:Routledge),pp.159

10.Shen, Wen (2010), ‘The Rise of PARAMETRICISM - A new era of architecture is coming…’ , in UED (Urban Envi-ronmentDesign),Beijing,August2010

11.-Schumacher, P.2010, The autopoiesis of architecture. London: John Wiley & Sons Ltd.

19

SERPENTINEGALLERYPAVILIONToyoIto/CecilBalmond

London, 2002

Precedent Project 1

FIG10

20

Serpentine Gallery Pavilion is a structural based architecture designed byToyo Ito and Cecil Balmond. It was designed for the purpose as a temporary summer pavilion, now it becomes a beach restaurant as part of a hotel. The building is based on an algorithm designed. It is simple formed but based on structural thinking, and there is no any hidden structure frames behind the facade, as the facade acts the structural itself. The starting point was really simple, that is a flat roof composed with random cross lines and supported only by the line of the exterior walls to form an absolute box. The architects start from a generative process, as they do not have any form expected or thought about. The only thing driven them is the algorism thinking on generating pattern lines.

The algorithm has been set for this project is to use basic 1/2 to 1/3 rule trace lines in a square, and then trace line again and again with certain rules (Balmond 2006). After steps on this algorithm, it will create a complex and random cross surface on a box typology. The amazing thing is that this random and complex lines are still following logic and manageable. This is the beauty of the generative design, as it will gives you unpredictable outcome which it would very difficult for human brain to imagine. The computation process would provide super convenience with its consideration of structural performance and materiality.

In compositional approach you will only come with one solution, but you can use computer to generate many possibilities when using generative approach. Toyo Ito argues that the digital technology gave a possibility to make imagine, calculate, manufacture and assemble within in a tight time- frame and gave a hint of spaces that are qualitatively different from what we are used to; and algorithms will be important that we will probably learn how to speak of a new kind of rationality.

FIG11generitiveprocess FIG12generitiveprocess

21

Precedent Project 2

AQUA TOWER Gang/Loewenberg

Chicago, 2010

FIG12generitiveprocess

FIG13

22

Aqua tower is an eight-two-stores apartment tower lo-cated in Chicago. Jeanne Gang designs it, and she is the firstfemalearchitectdesignedaskyscraper.TheAquaTower is probably as same as other skyscraper made by concrete,metalandglasses.However,thedifferenceofAqua to other skyscraper is that Gang designed a rip-pleliked‘skin’thatmakestheskyscraperbedifferent.The design idea was from few landmarks of Chicago, and contours those into a surface. Algorithm generated thefinaloutcomewithconsiderationofmaterialityandsustainability. Each ripple-curved balcony is unique for every single floor,whichmeanstheuseofstealneedstocutindif-ferent size. However, as the advantage of generativedesignwithcomputationtool,allmaterialusehasbeencalculated precisely “We didn’t waste six miles of form-workthatcouldn’tbereused,”saysLoewenberg(greenwebsite). The makes the wind have no clear path to follow, which is great for high rising building to reduce wind loads.So it reducethevibrationandsway fromwind blows to the building. Usually it is hard to see that skyscraper has balcony on high levels, because it is due tothewindloads.Thefabricisactingasabalconyforeachapartment.Itprovidesgreatoptionforhighlev-el residents to get fresh air without feel windy or un-safe. The overhang balcony can also be environmental friendly for shading the hot summer sun in purpose.

Thegenerativedesignreallymadeadifferentskyscrap-

er,thoughit isstillarectangularbuilding.Otherthanthecompositionaldesign,itgeneratesauniquerippledsurface that was hard for human to manually imagine, calculate and manipulate well. The integrated process ofgenerationgivesarchitectsa fastway todealwiththeideaofgreenandcostefficientprojectwithuniqueforms.

FIG14generitiveprocess

FIG15 thermal bridge of the building

23

ConclusionA.4.

FIG15 thermal bridge of the building

24

Afterfourweekstheorystudyonthefuturearchitectureandcomputationalde-sign, it gives me a lot of new way of thinking on what should architectural design. It is important to integrate future vision when design a project. Architecture is not just a shelter for people; it has ability to change the human thinking and habi-tants.Architecturecanraisediscoursetoengagepublictodeftureing,tonoticethecriticallivingmomentforus,tochangethewayofourlivingstyle,tochangethethinking.Computationcouldeasilyhelpustoreducethecostonfabrication.Theprocessofcomputationdesignisaholisticdesignthroughideatofabrication. Itgives designer handy ability to control the project. As well as it completely change anewwayofdesignthroughgeneration.Wecanachievemultipleoutcomesratherthantraditionaloneoutcome.

Thestudyofdifferentprecedentprojectshadwidenedmyvisionandthinkingalot. I amreally interested in thedesign to integrate selfgenerativeenergywithbiodegradable materials to create a pavilion or sculpture which allows public to understandtheabilityoffuturearchitecturecanbe,andtrytoinfluencepeople’sthinking and living habitant to take serious on our future.

CONCLUSION

25

Learning Outcomes

A.5.

26

Afterfourweekslearningandpractice,IhaveformedabasicideaofhowamIgo-ing to take part in the LGAC project. The study of theory is very helpful for doing design. Design is not just simply an art; it must have something connect to our real world and society, otherwise design outcome is just a ‘body with no spirit’. Ifoundthatcomputationalarchitecturewouldbethenextrevolutionarydesignmethodinfuture.Itfreeshumansmindandimaginelimitation.Computercouldhelparchitectgeneratingideaswithgreatefficiency.Iwouldtrymybesttolearngrasshopper and design a sustainble project in the following weeks.

LEARNING OUTCOMES

27

AppendixA.6.

28

29

I have selected few models which I think is quite inter-esting.Thefirstone isthenestball,whenIfirsttimesaw the tutorial; I am really amazed by its form. And afterIwatchedthetutorialanddiditbymyself,Ifeelthe power of the grasshopper. It can generate such a complex structural like item by few components. At that time, I think grasshopper is such powerful soft-ware; it will become a really handy tool for other using purpose as well. Other few models which I selected is all like structural building. Points connect with points, when I made these models I felt I could understand the processofcomputationaldesignbetter.BecauseIcansee that grasshopper could easily deal with each joint andfindtheproblemduringmodeling,thechangeofeachmodelwillreactreallyinrealtime,soitwillhelpme to fabricate in future.

OnceIhavefewpracticewithgrasshopper,Ifeltthatitis so easy to make an amazing and unique form of mod-el by just simply connect each components. Many real projects that we can achieve by grasshopper so easily. However, it is also quite hard for me to understand the data structure of grasshopper, there aremany timesthat I couldn’t connect each components correctly, so I just stuck to make model. Grasshopper is really hard forbeginnertouse,asitisnotaconventionalmodelingsoftware,itallusesdatacomponenttoconstructmod-el. Therefore I think this is also the power of grasshop-per, because it uses algorithm to generate model and forms, not geometries.

30

READING NOTES AND REFERENCES

1.Fry,Tony(2008).DesignFuturing:Sustainability,EthicsandNewPractice(Oxford:Berg),p32.Fry,Tony(2008).DesignFuturing:Sustainability,EthicsandNewPractice(Oxford:Berg),p43.Kalay,YehudaE.(2004).Architecture’sNewMedia:Principles,Theories,andMethodsofCom-puter-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 4.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; NewYork:Routledge),pp.45.6 .Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; NewYork:Routledge),pp.57.Kalay,YehudaE.(2004).Architecture’sNewMedia:Principles,Theories,andMethodsofCom-puter-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8.Kolarevic,Branko,ArchitectureintheDigitalAge:DesignandManufacturing(NewYork;London:Spon Press, 2003) Suggested start with pp. 139.Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Archi-tecture,ed.byRivkaOxmanandRobertOxman(London;NewYork:Routledge),pp.15910.Shen, Wen (2010), ‘The Rise of PARAMETRICISM - A new era of architecture is coming…’ , in UED(UrbanEnvironmentDesign),Beijing,August201011.-Schumacher, P.2010, The autopoiesis of architecture. London: John Wiley & Sons Ltd.

31

IMAGE REFERNCE

fig1.http://plusmood.com/wp-content/uploads/2010/02/Louisiana-Pavilion-3XN-plusMOOD-2.jpgfig2.http://www.noliac.com/files/billeder/05%20News/Louisiana_Pavillion_1.jpgfig3.http://c.fastcompany.net/multisite_files/codesign/imagecache/inline-large/in-line/2012/11/1671278-inline-02-swing-moradavaga-02.jpgfig4.http://eco-publicart.org/wp-content/uploads/2013/07/Swing_tech_2-web-1000x500.jpgfig5.http://upload.wikimedia.org/wikipedia/commons/f/f1/Museo_Soumaya_(acceso).JPGfig6.http://www.suckerpunchdaily.com/wp-content/uploads/2012/06/SOUMAYA_digrams_LARGE.jpgfig7.http://snohetta.com/uploads/project/2/max_770984538d65039ef790cb0a909eb7f1.jpgfig8.http://s3.amazonaws.com/europaconcorsi/detail_originals/2987779/1_full.giffig9.http://s3.amazonaws.com/europaconcorsi/detail_originals/2987779/1_full.giffig10.http://farm6.static.flickr.com/5320/7409586176_201e76de66.jpgfig11.http://upload.wikimedia.org/wikipedia/commons/c/c2/Mito_Art_Tower.JPGfig12.http://studiogang.net/sites/default/files/styles/large/public/aqua1.jpgfig13.http://eco-publicart.org/wp-content/uploads/2013/07/swing-1-web-1000x500.jpgfig14.http://upload.wikimedia.org/wikipedia/commons/9/96/Gang,_Jeanne_-_Aqua_Tower.JPG