Tran Tieu Phi (Sophie) 570960 Part A_Air_2015_S1

AIR

sTUDIO

2015_S1_5SOPHIE TRAN

570960

debitiunt lat.hahaahaahahavvCerchil maior maximus, occus quibusa aces eatque nonsequodit, occae volorerovid quam quia cone dolorio. Ut que landandus es eumquis que quostia volorunt fuga. Imaio. Nemporernat.Te niscimi, con pores et escimus.Lorro con ped quia veri ra is alit vellorae perovid estrunt et est odictes a antia cuptat qui custe landitio. Bus aliqui undae natur alique dipiet exeritetum quisque con nihic tem quibus modis dolut omnimi, sed quo quibere ratem. Lore, omnis etur sae. Et accae sero voluptatur autatis iditatet ommoluptas quatius cipidis sunt exped ut molore si in coreris cienihit, quo et quides ut a qui tem iligendae. Metur rehent.Apiet quidenis volupta speritatur atio imuscil lescias aute qui ducidus anto et aut esti nitint.Que labo. Inctatur? Ibustiis dem ut et volorem quaspit fugitissed ea nist maio officta turitat aliatur, tem. Dolor ad exceperis enis pla velloreiur, volo es cones earum qui sitium que non

CONTENTS

INTRODUCTION

DESIGN FUTURING

A.1 DESIGN COMPUTATION

A.2 COMPOSITION/GENERATION

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

A.5. APPENDIX - ALGORITHMIC SKETCHES

BIBLIOGRAPHY

IMAGE CREDITS

3

5

7

12

21

28

29

30-31

32

33

debitiunt lat.hahaahaahahavvCerchil maior maximus, occus quibusa aces eatque nonsequodit, occae volorerovid quam quia cone dolorio. Ut que landandus es eumquis que quostia volorunt fuga. Imaio. Nemporernat.Te niscimi, con pores et escimus.Lorro con ped quia veri ra is alit vellorae perovid estrunt et est odictes a antia cuptat qui custe landitio. Bus aliqui undae natur alique dipiet exeritetum quisque con nihic tem quibus modis dolut omnimi, sed quo quibere ratem. Lore, omnis etur sae. Et accae sero voluptatur autatis iditatet ommoluptas quatius cipidis sunt exped ut molore si in coreris cienihit, quo et quides ut a qui tem iligendae. Metur rehent.Apiet quidenis volupta speritatur atio imuscil lescias aute qui ducidus anto et aut esti nitint.Que labo. Inctatur? Ibustiis dem ut et volorem quaspit fugitissed ea nist maio officta turitat aliatur, tem. Dolor ad exceperis enis pla velloreiur, volo es cones earum qui sitium que non

One of my previous work is a pavilion on Herring Island in Studio Earth, I used rhino as my design tool to create the form of this building and sent to FabLab for laser cut (cardboard is my material). I decided to use rhino for this design because the pavilion had 4 story which gently merge into each other at different angle. I could not design this project by hand so I decided to laser cut it. From this project, I learned that design software open up a new way for designer to develop complex design which cannot be done by hand or drawing. This is the future of architects.

INTRODUCTION

My name is Tieu Phi (Sophie) Tran. I am from Vietnam (Ho Chi Minh City). I moved and lived in Melbourne since year 7 of high school. My hobbies are analysis building by looking at the structure and forms as well as photography. Therefore, I chose Architecture as my major in Bachelor of Environment and I am currently in my final year of this course.

I learned Rhinoceros since first year of my course. At the start, I thought this program was extremely complex but after using it for a few months, I found this program opened up a whole new world of digital architecture in my eyes. I come from a developing country where our technology is limited. Therefore, architecture in my eyes is just blocks of bricks and concrete that constructs together to form a building and designs are drawing on paper. However, Rhinoceros allow us design with more freedom in forms and shapes.

I love one book of Francois Blanciak which he records 1001 building forms using digital software. I believe digital architecture is developing a new way of modern architecture, there are many new building forms which can only be designed on digital and impossible to build. However, this cannot stop us from developing and experiencing new form in digital architecture as new building technologies are developing at the same time to make dreams in digital architecture come true.

Apart from Rhino, I also know how to use Indesign, Illustrator, Photoshop.

5

PART A. CONCEPTUALISATION

DESIGN FUTURING

What is ‘design futuring’?

As human beings are moving forward the future, we invent all kinds of technologies that deconstruct the planet’s climate and ecological system. We are reaching the critical moment in our existence as we are facing a defuturing condition of unsustainability. It is our job as designers to design a new future for humanity and move forward sustainability. However, design is not an easy process that can be done by individual. It is critical design process that need to be discussed and debated across disciplines such as engineers [1]. We also need to ‘pre-figure’ [2] the aims of the projects and ideas between different disciplines before creating.

As designer of future, we always have to keep in mind the relation between creation and deconstruction, “Currently, the planet’s renewable resources are being used up at a rate 25 per cent faster than they can be renewed, and the ecological human footprint (averaged over the global

population) has tripled since 1961.” [3] This quote suggests that we are creating our world and future so we need to think about how our designs can be sustainable because we will destroy something in the nature environment when we build. For example, we cutting down trees to build a house. Therefore, our job as architects in the future is developing a sustainable future for buildings.

As a result, many new design softwares are developed for designer to input data that computer can analysis. Designs can be changed easily using the softwares. Recently, some projects are launching the idea of sustainability through new design and technologies, the School of Art, Design and Media at Nanyang Technological University in Singapore by CPG consultants [4] and Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners. [5]


7

The School of Art, Design and Media at Nanyang Technological University in Singapore, designed by CPG consultants, is an example of a sustainable building. The faculty is 5 story building which represents an organic form with green roof [FIGURE 1] that sweeps and merges into the landscape [6] [FIGURE 3]. This building is different to other building as it maintains the nature surround with high-technologies and becomes a symbol of sustainability at Singapore. As a building for education in art, design and media, it is a good example for next generation to learn from when they design new building.

This idea of maintaining nature environment of the site is also discussed in the lecture when Dr. Stanislav Roudavski explained when we add something to the nature we should also maintain parts of it. For example, a bridge across a freeway, which is built for animals to cross the road at Ecoduct Borkeld, the Netherland [7]. This

8

FIGURE 1

FIGURE 2

FIGURE 3

School of Art, Design and Media at Nanyang Technological University in Singapore

(2006)

create a pathway for both humans and animals. It highlighted as designer of future, we need to consider about our project before building it as we should to maintain the surrounding landscape [FIGURE 2] to move forward sustainability.

Furthermore, the building received the Green Mark Platinum Award from the Building and Construction Authority (BCA) for the best practices in environmental sustainability.

The building is built as it helps Nanyang Technological University save almost 120,000 kWh per year and more than 1,170 cubic metres of water saved per annum with the designs of high-efficient lights with motion and photo-cell sensors, retrofitted air-conditioning system as well as rainwater collection with rain sensors and irrigation system. Also, the green roof and glass are used with carbon dioxide sensors in its air-handling units help to reduce energy used and maintain a healthy indoor air quality for

students and teachers.Mr Chan Keng Luck, NTU’s Acting

Chief Building and Infrastructure Officer of Nanyang Technological University said: “The BCA Green Mark Platinum Award is an important recognition of NTU’s commitment towards sustainability. The University has already secured more than $830 million in sustainability research. In addition, the NTU Campus Masterplan, which will guide the physical development of our campus over the next 15-25 years, is also based on sustainability principles. In fact, in the upcoming new academic year, all first-year undergraduates will take a compulsory course in environmental sustainability.” [8]

PART A. CONCEPTUALISATION: DESIGN FUTURING

9

10

FIGURE 4

Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners in Beijing

(2008)

Another example of moving forward sustainability with designs is the Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners in Beijing. The wall is the world’s largest color LED display, which has a self sustaining energy life-cycle. It collects sunlight during the day by the photovoltaic solar cells[FIGURE 5] and stored for lighting up at night. [9][FIGURE4]

This is a combination of new technology and design which allow Beijing to move forward a sustainable future. The wall attached to an intelligent software, which control the lighting of the LEDs. This changes the way we think that commercial building with LEDs flashing days and nights may not be unsustainable. The project is built to show the world that commercial buildings with a lot of lighting do not mean they are unstainable as the energy can be saved by modern technologies.

PART A. CONCEPTUALISATION: DESIGN FUTURING

11

FIGURE 5

FIGURE 6

A.1. DESIGN COMPUTATION

Traditional architecture design process is shifted from drawing on papers to algorithm [1] as it is a new technique for architects to use computer as a tool to capture the design and communicate the design through visual presentation, such as rendering. In the past, architects have limited time to figure out how to build the project with a short amount of time which can lead to false in building process [FIGURE 6]. In contrast, the design process with computer as a tool allow the architects to figure out how to build the design using analysis and visual programming [2]. As a result, false can be seen through 3-dimensional and changes can be applied quicker and easier.

We apply algorithm as a language to communicate with the computer and tell it how we want the design to look like, at the end we can produce a parameter model [3] which can be changed multiple times to suit our unique ideas. An example of an algorithm program is grasshopper in rhino. Grasshopper is not a design tool but a programming tool as we only use it to generate codes, while rhino shows all the visual details of the models. By using algorithms, the fabrication of project become easier than construction in the past. This changes the design and construction industries as they can test the outcome of the project structure or form easily using the algorithms. Traditional

architecture evaluated from calculation and drawing on paper to mathematic and generate coding [4]. Architects or designers are no longer need to be good at drawing as the programs can generate all kind of form with just a few input on computer. However, they need to be creative to generate the projects.

Computational design techniques lead the professional practice across disciplines such as architects and engineers to explore new technologies and allow material creativity [5]. This opens up a whole new world for designing and constructing industries as projects are more creative. The algorithms in parametric designs allow each project to have their own rules as programming and become singular.

The algorithms and parametric designs allow architects to explore and design complex forms as well as complex structures. For example, the Aspen Art Museum by Shigeru Ban Architects, New National Stadium by Zaha Hadid Architects and Busan Cinema Center by Coop Himmelb(l)au.

PART A. CONCEPTUALISATION:

13

14

“I believe that the material doesn’t need to be strong to be used

to build a strong structure. The strength of the structure has

nothing to do with strength of the material.” -Shigeru Ban

FIGURE 7 FIGURE 8 FIGURE 9

FIGURE 10 FIGURE 11

Aspen Art Museum by Shigeru Ban Architects at 637 East Hyman Avenue, Aspen, CO 81611, USA

(2014)

The intention of this design project is creating an interaction between the inside and outside through the use of wood framing structure[6]. An outer skin of wood structure which almost transparent applies to provide view from inside to outside [FIGURE 10], which also allow people from outside to engage with the interior. The designer uses computational design techniques to explore the form of the building as well as maintaining the original intention. As the result, interesting patterns are shown when sunlight past through the wood framing structure [FIGURE 7&9]. This creates a unique design.

Furthermore, the computational design techniques allow the designer and engineer to understand the abilities of materials and how to construct a wood framing with maximum loading capacity. They can also use parametric design to analysis the notching [FIGURE 8] of the framing to create an extraordinary wood

ceiling structure [FIGURE 11]. This precedent highlight the idea that

design computation is a tool we can use to express our creative and construct it in real life [7]. The tool help us to predict the form and structure of a project, which we can use as a starting point to generate it in real life.

PART A. CONCEPTUALISATION: A.1. DESIGN COMPUTATION

15

16

“There are 360 degrees, so why stick to one?”- Zaha Hadid

FIGURE 12

New National Stadium by Zaha Hadid Architects in Tokyo, Japan

(Predicted 2020)

This is a coming up project of Zaha Hadid Architects. It is a project contain more than a large sports facility, which allows more than 80,000 people to come in the Olympic at Tokyo in 2020[8]. The singular geometric forms of the building is a good example for explaining the evolution of design processes by computational design techniques. This is the advantage of using algorithm as a tool to design because the geometry and all the components of the building is too complex to be drawn by hand. The form of the building merges gently into the urban landscape. It represents a complex form of bowl geometry, structure skeleton and cladding membranes which is light and cohesive. In order to come up with this design Zaha Hadid needs to work with people across different disciplines as the structure of the geometry is too complex. The parametric design allows designer to re-define their project to become a form which possible

to construct. Also, the model is rendering to provide an idea about the form as well as the effect of the design, such as lighting. This shows that computational design techniques allow designer to use visual presentation rather than words to engage people.


17

18

FIGURE 13

FIGURE 14

Busan Cinema Center by Coop Himmelb(l)au, Busan, South Korea (2012)

The project involves many designers, engineers and scientists to analysis, design and construct the building. The building is well known by the Guinness World Record for the “longest cantilever roof” in the world [9]. The design process and construct of the flying roof goes through a lot of state. The designer use parametric design to generate the overall geometry of the roof. The wind blows across the building is studied and predicted loads on the roof before construction. It is then re-defined by the engineers

This is an evolution in design and construction industries as designers and engineers work together to transfer the abstract idea of architect to a complex form of construction.[FIGURE 14] This is similar to how Frank Gehry transfer his sketch to Guggenheim Museum in Bilbao [10].


19

“Algorithmic thinking is

the ability to understand,

execute, evaluate,

and create algorithms.”

Wayne Brown, Introduction to Algorithmic Thinking

“When architects have a sufficient

understanding of algorithmic

concepts, when we no longer need to

discuss the digital as something different,

then computation can become a true

method of design for architecture” - Brady Peters.

A.2. COMPOSITION/GENERATION

As designers, we are moving forward the future by learning from experience and taking on new challenges. As humans, we want to explain and manage everything surrounding us. This is how we create out dynamic world as we keep changing everyday[1] by exploding new ideas, new freeform and new architecture style.

In traditional architecture, we used drawing on paper to create model and building. Nowadays, computation is a digital method to explore ideas and designs but it can only become a true design method for architects when digital modelling comes to reality. This is why we need to understand and control over the computation so we can produce parametric models that we want in reality. This process of fabrication involve the algorithmic thinking as well as scripting or coding. An example of a true design tool is grasshopper and rhino as they allow freedom for designer to explore the design, that can generate the

final geometry with additional information such as analyse structural and functional, visualise the space and create fabrication data for physical models, as long as we can understand the software and input the right data for the software to generate.

T

21

22

FIGURE 15

The project Foster and Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010 [2], highlights this idea of shifting from composition to generation as it is developed from the original intention which is a cable-net structure. Algorithmic thinking is then used to generate many parametric design options for this project. As the result, only one design is possible to build. This explores the concept that it is easy for us to generate many design concepts quickly using computation but the translation of the design to reality need to be developed further. Computation is a way we can generate our idea quickly but when it comes to reality we need more practical works. Similar, Smithsonian Institution, Washington DC, 2007 [3] by Foster and Partners also explores the different between fabrication and computation. After finishing visualise the form of the structure, they need to create another fabrication data for the physical model.

PART A. CONCEPTUALISATION: A.2. COMPOSITION/GENERATION

23

FIGURE 16

FIGURE 17

Heading

Quote or paragraph heading

alibushdausdhasuhdTextRuntur, cus, veliciam experitas alique eos dolut aribusandi sant ea nonet ut optas aut auditatur abo. Epedis erorum eum sam, offic tempeli quibeaque num nonsequatur mo ent moles molupta ium quassit alia qui aut ipsam si as acestiorum et ad que alita cusam, comnien istion reperuptur, sit, sum voluptas autas cum, suntum il im nonet hita pori aut faceat enes rem facepta veris est ea dio. Ovitium dis moloriasped qui ducieni tionet iusam, adipictia cus aut ped et vid quo veliquatur millacepra debisque et assin prem simodi optiis re volenimenim rerspienis vene cus aut vent.Qui core quuntur, quistrum nemodi odicit volo quiatur? Igenimodit aut enimilitiis doluptatiur aut quia ab ipsanit unt exped quiscitiunt velecabo. Obit untoratem utem si ventiur, autas iliqui dis dolorem volupti que rem eaque peria sum rem quunt labo. Hitinienihil evenducia velessi nctendiscil in reium nones aperum sequi quist, susti sequis dessus, oditias vita ipsam aut persper unture dolupta

sunt,dasjudhasdhakvText

Annotate 8pt


25

26

FIGURE 18-20

On the other hand, the Council House 2 (CH2) [4] office building in the city of Melbourne is another example of shifting from composition to generation. The initial intention of the design is sustainability so many different systems as well as features of the building are analysed and developed to achieve sustainability such as diagrams of wind ventilation, water tower and so on [FIGURE 18-20]. As the result, the cladding of the building is designed for wind ventilation at night time to keep the building cool and save more energy. This explores the idea that shifting from composition to generation is the translation of design intention to reality. The composition is the visual images of this project on diagram and the final form of the building is generated from the diagram ideas.


27

FIGURE 21

A.3. CONCLUSION

Modern architecture is quite different to traditional architecture as we start to move away from the drawing on paper and approach new method of digital design. Algorithm (Grasshopper and Rhino) is introduced as parts of the parametric design process as it is the language we use to communicate with computer to generate new and complex geometries faster and easier. By using the softwares, forms of our design can also be re-defined many times before the construction of the final form. This creates a whole new world for us as designer because we can pre-figure the design before construction. It can help us develop a sustainable future as we can change the geometries of our designs to achieve sustainablility. Furthermore, development of these softwares allow the fabrication process to become easier and faster as we can use the algorithm to generate all the notching for joints between planes and objects.

28

A.4 LEARNING OUTCOME

From Part A of this project, I learned the concept behind software such as Grasshopper and Rhino. They are design tools which can help us develop, generate, re-define our initial ideas to create new and complex freeform. Also, as designer of future, we should consider designs we build as we may destroy parts of the nature surrounding us. It is our job to maintain the nature environment at the existing site for the next part of the project. In the next part of this project, we need to use these design tools to help us analysing, generating and developing designs that adapt to the ecological world of the site.


29

30

1 2

4 5

A.5 APPENDIX ALGORITHMIC

SKETCHES 1. Cylinders are applied on a surface of a lofting surface with a centre point on the surface, so as the distance of the cylinder is nearer to the point, the smaller its radius will become. This create variation for the pattern of cylinder on the surface.2. Cylinders are applied on a surface of a lofting surface with a centre point on the surface3. A pattern of hexagons creates using morphbox, this allows us to control how a pattern can be applied onto a surface.4. Pop3d.5. Octree.6.Intersecting cones - Bollinger & Grohman Reverse

Engineer.

I choose to present these sketches in my journal

because I think they can represent my knowledge in

Grasshopper as apart from the tutorials online, I do

some further research on grasshopper and explore

some new form shapes such as the first 3 sketches.

These algorithmic sketches also demonstrate that

grasshopper and rhino are programs which allow

designer to create new complex form of design.

The forms can be varied by a few activities such as

changing the curves or the surfaces of the input data.

The program is a way we can communicate with the

computer and manage the computation to produce

our desired results.

Furthermore, I add the final geometry to highlight

an amazing knowledge I learn from the tutorials and

grasshopper as I understand how a complex project

is constructed I think this is why grasshopper is so

powerful in term of parametric design because it

allows freedom for user to explore their design and

to solve for possible solution for fabrication of a

complex geometry.


31

6

3

Bibliography

DESIGN FUTURING1. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 342. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 63. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 84. Kriscenski, Ali. (2015) A Swirling Green Roof Tops Gorgeous Nanyang Technical University In Singapore (Inhabitat.Com) http://inhabitat.com/amazing-green-roof-art-school-in-singapore/.5. Dioffa, Jon. (2015) GREENPIX Zero Energy Media Wall Lights Up Beijing (Inhabitat.Com) http://inhabitat.com/greenpix-zero-energy-media-wall-lights-up-beijing/.6. Kriscenski, Ali. (2015) A Swirling Green Roof Tops Gorgeous Nanyang Technical University In Singapore (Inhabitat.Com) http://inhabitat.com/amazing-green-roof-art-school-in-singapore/.7. Dr. Stanislav Roudavski (2015) AIR 2015 S1 L01 Futuring. https://app.lms.unimelb.edu.au/bbcswebdav/pid-4736612-dt-content-rid-16576776_2/xid-16576776_2?target=blank.8. Enewsletter.ntu.edu.sg, (2015) Platinum Award For Commitment Towards Sustainability http://enewsletter.ntu.edu.sg/(X(1)S(fg0ccgtt1rt0vjhew32iua5s))/classact/May11/Pages/cn3.aspx?AspxAutoDetectCookieSupport=1.9. Dioffa, Jon. (2015) GREENPIX Zero Energy Media Wall Lights Up Beijing (Inhabitat.Com) http://inhabitat.com/greenpix-zero-energy-media-wall-lights-up-beijing/.

A.1. DESIGN COMPUTATION1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–102. Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb.edu.au/webapps/blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_13. Mode Lab, Modelab Introductory Video, 2015 <http://lab.modecollective.nu/lab/introduction-to-grasshopper/> [accessed 19 March 2015]4. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 425. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-256. ArchDaily, ‘Aspen Art Museum / Shigeru Ban Architects’, 2014 <http://www.archdaily.com/546446/aspen-art-museum-shigeru-ban-architects/> [accessed 19 March 2015]7. Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-2128. Zaha-hadid.com, ‘New National Stadium - Architecture - Zaha Hadid Architects’, 2015 <http://www.zaha-hadid.com/architecture/new-national-stadium/> [accessed 19 March 2015]9. ArchDaily, ‘Busan Cinema Center / Coop Himmelb(L)Au’, 2013 <http://www.archdaily.com/347512/busan-cinema-center-coop-himmelblau/> [accessed 19 March 2015]10. Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb.edu.au/webapps/blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_1

A.2. COMPOSITION/GENERATION1. Lecture (2015) AIR 2015 L32. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 103. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 124. ArchDaily, ‘CH2 Melbourne City Council House 2 / Designinc’, 2013 <http://www.archdaily.com/395131/ch2-melbourne-city-council-house-2-designinc/> [accessed 19 March 2015]

Image Credits


33

Figure 1-3 (Nanyang Technical University in Singapore: http://inhabitat.com/amazing-green-roof-art-school-in-singapore/, 10 Mar 2015)Figure 4-5 (GREENPIX Zero Energy Media Wall Lights up Beijing: http://inhabitat.com/greenpix-zero-energy-media-wall-lights-up-beijing/, 10 Mar 2015)Figure 6 (Design Process: Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb.edu.au/webapps/blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_1, 15 Mar 2015)Figure 7-11 (Aspen Art Museum by Shigeru Ban Architects: http://www.archdaily.com/546446/aspen-art-museum-shigeru-ban-architects/, 15 Mar 2015)Figure 12 (New National Stadium by Zaha Hadid Architects: http://www.zaha-hadid.com/architecture/new-national-stadium/, 15 Mar 2015)Figure 13-14 (Busan Cinema Center by Coop Himmelb(l)au:http://www.archdaily.com/347512/busan-cinema-center-coop-himmelblau/, 15 Mar 2015)Figure 15-16 (khan shatyr entertainment centre: http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/, 19 Mar 2015)Figure 17 (Smithsonian Institution: http://www.fosterandpartners.com/media/Projects/1276/img0.jpg, 19 Mar 2015)Figure 18-21 (CH2 Melbourne City Council House 2 / DesignInc: http://www.archdaily.com/395131/ch2-melbourne-city-council-house-2-designinc/, 19 Mar 2015)

THANK YOU

Tran Tieu Phi (Sophie) 570960 Part A_Air_2015_S1

Documents

Transcript of Tran Tieu Phi (Sophie) 570960 Part A_Air_2015_S1