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MATTHEW CHAI ARCHITECTURE DESIGN STUDIO : AIR # 583290

Finaljournal 583290 matthewchai

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MATTHEW CHAI

ARCHITECTURE DESIGNSTUDIO : AIR

# 583290

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CONTENT

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PART A. CASE FOR INNOVATION Introduction 3 Material Exploration in Relation to Context 6 Natural Integration 7 Immersion 9 Computational Architecture 11 Sinosteel Int. Plaza - MAD 13 Parametric Modelling 15 The Hinzert Museum 17 Mercedes Benz Museum 21 Learning outcomes 23

PART B. DESIGN APPROACH All Things Structural... 26 Case Study 1.0 - Reverse Engineering 27 Case Study 2.0 29 Design Intent 33 Technique Development 35 Technique Prototype 37 Technique Proposal 39 Algorithmic Sketches 41 Learning Objectives 43PART C. PROJECT PROPOSAL Gateway Project: Design Proposal Building a Reticulated Surface Part I. Building a Reticulated Surface Part II. On Site Location and Logistics

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CASE FOR INNOVATION3

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AGE: 21 HOMETOWN: MELBOURNE

Architecture and the buildt envi-ronment have always inspired and excited me so the desci-

sion to pursue a career in architec-ture was an easy one to make. I briefly studied a Bachelor of Architecture at Deakin University’s Geelong Water-front Campus before transferring to Melbourne University’s Bachelor of Environments course. I have found the Bachelor of Environments course ex-tremely interesting and well rounded in regards to relevant issues in de-sign, the natural environment and sustainable living in all aspects of our

lives. Design Studio: AIR is just one example of the course’s diverse syl-labus which equips us, as archi-tects, with the skills to influence change within our evolving world. I’m particularly interested in learning and discovering the language of com-puting in architecture as the notion of parametric modelling was a rela-tively foreign concept before Design Studio: AIR; my experience is some-what limited in computing in archi-tecture and design. Nevertheless, I’m extremely eager to put my comput-ing knowledge and skills to the test.

MATTHEW CHAI

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MATERIAL EXPLORATION IN RELATION TO

PART A. EXPRESSION OF

INNOVATION

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“Architecture is the most public of the arts. It is inescapable on a daily basis for anyone living in an urban society. Works of architecture frame our lives; we inhabit them, they define our movement through cit-ies; they moralise and discipline, or attempt to.”Richard williams

As Richard Williams states - ar-chitecture surrounds us. It’s an obvious statement; it cre-

ates the tangible urban environment of our modern day society. From the early works of Marc-Antoine Laugier and his ideals of The Primitive Hut, architecture can be viewed as an en-tity which provides us with shelter, warmth and protection. However, as we progress from the premise that architecture is simply an enclosure of space which performs a certain function, the definition of archi-tecture can become multi-faceted, subjective and even philosophical. Architecture is a unique form of ex-pression which allows architects to design three-dimensional, in-habitable spaces unlike the limited nature of painting or sculpturing. Furthermore, architecture is often

free to experience as opposed to other forms of visual culture which is often sheltered from the public realm. Consequently, the consumption of architecture is not contained to the analy-ses of the professionally trained.1

1 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 (p.108)

As our urban environment grows rapidly, we are exposed to more and more new technol-ogy, materials and innovation. In order to consider architecture as a discourse, one must critically engage in architecture as some-thing more than bricks and mortar, whether it be as art, as a symbolic representation or the way space can make you feel emotionally. I believe that the discourse of ar-chitecture in relation to material selection and context is one of ut-most importance. Personally, I be-lieve that architecture must not im-pose itself upon its vernacular, but it must integrate itself to achieve a wholesome expression. That is, buildings with no contextual formal gesture are lost or irrelevant. Mate-rial selection and performance is one way that creates harmony be-tween itself and its surroundings.

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NATURAL INTEGRATIONOUR UNDERSTANDING OF ARCHI-TECTURE IS ALWAYS CHANGING AND EVOLVING. THIS IS ONE OF ARCHI-TECTURE’S MOST EXCITING FACETS; IF WE LOOK AT ARCHITECTURE AS A DISCOURSE, ITS MEANING BECOMES OPEN TO INTERPRETATION AND CONTINGENT. IN OTHER WORDS, THE MEANING OF ARCHITECTURE HAS NO RIGHT OR WRONG SPECTRUM. IN THE CASE OF ALVARO SIZA’S LA LECA SWIMMING POOLS PROJECT, NATURE HAS BEEN RECOGNISED AS A DRIVING SITE FACTOR WHICH NEEDED TO BE ADDRESSED AT THE FORE.

The Leça Swimming Pools by Alvaro Siza is undoubtedly one of his most recognised and published works.It is also one of his oldest. Completed in 1966, it is situ-ated along the Leça de Palmei-ra beaches, just north of Porto. It consists of changing rooms, a cafe and two swimming pools. The pools are purposefully sunken into the rocky hillside which con-sequently creates an undisturbed view of the Atlantic Ocean from the roadside; the pools blend into the landscape illustrating Siza’s careful consideration of the rela-tionship between nature and the built environment. As visitors enter

with previously unseen views.1 The surrounding walls are made of a sandy coloured concrete which reference the surrounding rocks around the site. The Leça Swimming Pool complex is extremely success-ful in achieving the seamless inter-action of nature into the design. It is one of my favourite examples of how architecture integrates, instead of imitates, its natural surroundings. However, it simultaneously discon-nects itself from its vernacular by contrasting the linear concrete walls with the jagged, sharp nature of the rocks. You could say it does not pertain to either the built or the

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CASE FOR INNOVATION7

01 View of pools from beach.

02 The concrete steps blend into the rocky sur-roundings.

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natural; conversely, you could also argue that it bridges the gap be-tween the two and therefore, could be considered as mutually exclusive to both. At first glance, the com-plex is reminiscent of an old WWII bunker on the shores of Normandy. Although I have never visited, it ap-pears to sit heavily within the land-scape. Moreover, in plan it creates many concealed and dark spaces. I can only imagine the sense of adven-ture one would experience as you navigate your way through the long

dark corridors, tip-toeing through with trepidation and excitement. Eventually, you are elevated from this dark and daunting environ-ment and suddenly the feelings of adventure vanish and the breath-taking view of the Atlantic Ocean generates a completely contrast-ing expanse to the depths of below.The way Alvaro Siza makes his visi-tors feel by occupying his spaces is truly unique. He takes them on a journey through the sensitive use of materials and program layout.

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1 Sofia Balters, “AD Classics: Leça Swimming Pools / Alvaro Siza” , Archdaily <http://www.archdaily.com/150272> (date accessed 30 March 2013)

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03 Wind-ing, planar concrete walls cre-ate dramatic environment.

04 View from children’s pool.

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“MOUNTAIN, STONE, WATER – BUILD-ING IN THE STONE, BUILDING WITH THE STONE, INTO THE MOUNTAIN, BUILDING OUT OF THE MOUNTAIN, BEING INSIDE THE MOUNTAIN – HOW CAN THE IMPLICATIONS AND THE SENSUALITY OF THE ASSOCIATION OF THESE WORDS BE INTERPRETED, ARCHITECTURALLY?”

- PETER ZUMTHOR

As visitors circulate through the narrow corridors, they immediately feel a deep connection with the countryside through the clever use of local materials such as stone. The internal pools are lit with minimal diffused lighting and subtle open-ing within the stones to allow for natural light to pierce through.

Peter Zumthor’s Therme Vals in Switzerland has been described as a complete sensory experience. Built to create a cave-like struc-ture set deep into the hillside, the baths create a serene and peace-ful environment - perfect for im-mersing yourself. Immersion has strong connotations with water and cleansing, and indeed, they are both pertinent in terms of the Therme Vals. However, the notion of immersion is not limited to the tan-gible and can also include the psy-chological immersion of one’s self.

TOTALIMMERSION

This building is as much about ex-ploration as it is about relaxation. These may seem contradictory in theory however Zumthor states that this idea of “exploration” is not one of trepidation but more about personal emotional exploration.1

As Zumthor explains: “The meander, as we call it, is a designed negative space between the blocks, a space that connects everything as it flows throughout the entire building, cre-ating a peacefully pulsating rhythm. Moving around this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.”2 Abstract in its conception, how-ever it creates a unique experi-ence for each individual as he or she “meanders” through the space.

01 View from outside Therme Vals.

02 Dark, dramat-ic spaces foster a complete sensory experi-ence.

03 Local stone used inside and out.

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CASE FOR INNOVATION9

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1 “The Therme Vals / Peter Zumthor” (2009), ArchDaily. <http://www.archdaily.com/13358> (accessed 27 March 2013)2 ‘The Therme Vals / Peter Zumthor” (2009) ArchDaily.

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COMPUTATIONAL ARCHITECTURE

Unlike most other design disciplines like sculpture and art, architectural practice requires a unique set of

constraints in formulating a coherent building. Site context, costing, weather conditions and material properties are just a handful of objective constraints that need to be considered in the de-sign process. In conjunction with other considerations such as the needs of the client, aesthetic values and contractors, architects indeed have a lot to think about in the design process. The role of the computer in architecture has drasti-cally changed the way we think, oper-ate and organise information and help to synthesise multiple design solutions into a final proposal. Computer-aided-design programs such as AutoCad provide a fast and efficient drafting tool to mini-mise time and costs to the documenta-tion process. Modelling programs such as Rhinoceros, 3Ds Max and Revit enable architects to fully visualise complete buildings (within site context) without the need to build physical scale mod-els. Moreover, through the use of pro-grams such as Ecotect, we can simulate real-world conditions to monitor ther-mal performance, solar radiation, shad-ows and reflection and fully evaluate the cost of a building. Computers are ex-tremely useful in aiding us as designers

world. However, when we look at the debate between “Computation” versus “Computerisation”, a whole new argu-ment is formed. Often these two terms are used interchangeably; however, their meanings, by definition are quite dis-similar. As Kostas Terzidis states “Com-putation is the procedure of calculating, i.e. determining something by mathemati-cal or logical methods. Computeriza-tion is the act of entering, processing, or storing information in a computer or a computer system.”1 By this definition, computerisation is predetermined and well-defined (much like the application of AutoCad and Ecotect) whereas, compu-tation is about the exploration of vague and unclear processes. In Architecture Design Studio:Air, we will be exploring these vague and indeterminate entities in the form of algorithmic expressions. This process of applying algorithms to the proposed constraints creates un-precedented geometries which can fur-ther be explored. Over the last decade, the emergence of digital programming in design has grown exponentially. Conven-tional methods in the design process are a thing of the past as parametric model-ling enables architects to design spaces which stimulate our senses in ways we have never seen or experienced before...

1 Kostas Terzidis, Algorithmic Architecture, (Hoboken : Taylor & Francis, 2012) p.57

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SINOSTEEL INT. PLAZALOCATION: TIANJIN, CHINA TYPOLOGY: OFFICE AND HOTEL

SITE AREA: 26,666SQM YEAR: UNDER CONSTRUCTION

MAD ARCHITECTS

The Sinoteel International Plaza in the heart of the Tianjin CBD, China, reflects a shift in eco-

nomic prowess from the powerhouse of Beijing to the future of the urban metropolis in Tianjin. The concept combines geometry, structure and cultural symbolism as a repetitive motif.1 The facade is comprised of a combination of five different types of hexagonal shaped windows which symbolise the heritage values of Chinese architecture.2 Although the patterning of the facade’s hexagons appears to be randomly positioned, the intent was to respond to climatic conditions. Wind and solar radiation was mapped and the position of thes windows will minimise heat loss in

winter and heat gain in summer; thebuilding becomes energy efficient. However, what makes this building special?MAD architects wanted to move away from the conventional, repeti-tive and straight high rise buildings which dominated the urban skylines of China (and indeed the rest of the world). The design is futuristic, ef-ficient and unique to its context. Moreover, the building is revolution-ary. The outer hexagonal skin also is the main structure of the building. Consequently, the need for internal structures is removed.3 Through gen-erative modelling, MAD architects were able to formulate an appropri-ate design solution for the proposal.

1 MAD Architects, 2010, MAD Architects, Beijing < http://www.i-mad.com/#works_details?wtid=4&id=48> (date accessed 1 April 2013)2 MAD Architects, 2010, <http://www.i-mad.com/#works_details?wtid=4&id=48>3 Sinosteel International Plaza by MAD, 2008, ArchiScene, <http://www.archiscene.net/hotels/sinosteel-international-plaza-by-mad/> (date accessed 1 April 2013)

CASE FOR INNOVATION13

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PARAMETRIC MODELLING

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1 Diego Hernandez. “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) ArchDaily,<http://www.archdaily.com/317207> (date accessed 1 March 2013)2 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013)3 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013)

THE HINZERT MUSEUMLOCATION: GEDENKSTÄTTE TYPOLOGY: MUSEUM

SITE AREA: 470,7SQM YEAR: 2005

WANDEL HOEFER LORCH + HIRSCH

Set within the rolling land-scape of the Hinzert village, the Hinzert Museum and Docu-

ment Center acts as a shelter space as well as a museum. It houses a document center including archives, research library, seminar and exhibi-tion spaces. The 43 metre long build-ing is comprised of three-thousand 12mm Corten steel triangular plates which are all welded together to form the facade and roof.1 The an-gles between the triangular panels were calculated to ensure that the elements have an adequate struc-tural height and that the entire con-struction forms a rigid folded plate.2

through a direct printing process.3

Moreover, the inner skin consists of birch plywood panels in which photographs and text are engravedSo, what makes this building spe-cial? How is computing relevant to this design? Firstly, computing plays a pivotal role in the outer and in-ner skin designs. In the diagram below, we can see that each skin and surface has been created us-ing a mesh which has then been folded and welded together to cre-ate an enclosed surface. In rela-tion to its context, the material selection is a symbolic gesture to the earthy hills which surround it.

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MERCEDEZ BENZ MUSEUMLOCATION: STUTTGART TYPOLOGY: MUSEUM

SITE AREA: 35,000SQM YEAR: 2001-06

UN STUDIO

The Mercedes Benz Museum, lo-cated in Stuttgart, Germany, is the crown jewel of Mercedes

Benz. Its programme includes a car museum, shop, restaurant, offices and auditorium. The design is based on the geometry of a clover leaf with the three spaces connected by two helical ascending ramps which spiral around a central atrium.1 The main emphasis of the design are these two circulation pathways which enable visitors to choose their own journey through the space. At each floor, the paths intersect al-lowing visitors to alternate between each route.2 The curved walls are in fact a result of rigorous para-metric processing. UN Studio em-ployed the expertise of parametric consultants, Designtoproduction, to meet the design specifications and contextual constraints. The doubly-curved concrete surfaces reflect the interior sweeping corridors. To achieve these forms traditional

formwork systems and manual planning methods were not suit-able. Designtoproduction devel-oped a method of planar boards to create formwork in order to achieve these curved concrete pan-els. The panels were precisely cut on a CNC-router and were bent into the desired shape in situ.3 The Designtoproduction team were also responsible for implementing a 3D-parametric model of the entire edifice to coordinate all the planning and construction steps involved in the building process. Due the unique an intertwining nature of the build-ing, traditional plans and sections were nearly impossible for describ-ing the building.4 The decision to use exposed concrete within this buil-ing reflects the industrial language of Stuttgart’s automobile history. Concrete is often clinical and cold but has been elasticised to express a sense of futurism to the building.

CASE FOR INNOVATION21

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1 UN Studio, 2006, UN Studio, Amsterdam, < http://www.unstudio.com/projects/mercedes-benz-museum> (date accessed 4 April 2013)2 David Basulto, “Mercedes Benz Museum” (2010), ArchDaily, <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/> (date accessed 4 April 2013)3 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/15/28/> (date accessed 4 March 2013)4 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/4/21/> (date accessed 4 March 2013)

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In order for architecture to progress, architects must employ the use of com-putation in the design process. With

progress comes change - a change in the way we view buildings as art or a functional entity. This change may simply introduce new ways of looking, design-ing and experiencing space. That is not to say that computers must design for us. Through parametricism, we are able to design and create architecture that integrates its contexts in unprecedented ways. One only has to look as far back as Alvaro Siza’s Leca Swimming Pools or Frank Lloyd Wright’s Falling Water to understand the importance of context in designing. Therefore, in the instance of the Wyndham City Gateway competition, it is imperative that the design heavily incorporates its surroundings. This will be important in defining it as a symbolic gesture - one that the people of Wynd-ham City will be proud to call “their own”. Moreover, the design will also, be preoc-cupied with the notion of structure, more specifically, structure as form-finding. The combination of structural emphasis and

contextual materiality will hopefully bring about an innovative and strong de-sign solution. From the beginning of the semester, I feel as if I was already on the back foot as my knowledge of algorithmic architecture, parametricism and genera-tive design was very limited. However, as this semester has progressed, these pre-conceptions in regards to parametrics became much clearer and more informed. Through the readings and lectures, com-putational architecture became not as daunting as first imagined. The idea of architecture as discourse was also a relatively new idea to me. As discovered, architecture has become much more than a design discipline; it has become a con-versation with many facets. This notion of the discourse of architecture may have proven beneficial to past projects due to its philosophical nature. The in depth dis-cussions by relevant notable academics may have given my projects another level of analysis. Moreover, the critical analysis of precendented projects perhaps could have further informed my design choices.

CONCLUSION + LEARNING OUTCOMES

CASE FOR INNOVATION23

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ALL THINGS

PART B. EXPRESSION OF

APPROACH

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WHYSTRUCTURE?

In order to explore structure within the parameters of architectural de-sign, we must first explicitly define

structure and what it entails. History tells us that structure has always been, and will always be, an integral compo-nent to architecture. Ancient Greeks em-ployed the use of over scale stone Doric columns as support structures in their temples, civic buildings and homes. The sheer strength of these post and beam structures was enormous and they were often highlighted as political or social symbols of strength, power and wealth. Moreover, they represented the time. However, as time progressed, various architectural movements have hidden or expressed structural elements in a mul-titude of ways. We only need to look as far back as the early 1900’s to see that the modernist movement of architec-ture was preoccupied with “progress’’ and creating something new to rep-resent its own time. The “form follows function” argument has proliferated throughout architectural and, indeed, other design arguments, in the last cen-tury as architects such as Le Corbusi-er, Ludwig Mies van de Rohe and Louis

Sullivan all strived for full functionality of a building’s components. This idea of stripping back ornamentation and “sim-plifying” architecture rejects past styles in search for a new language. More im-portantly, the importance of structure has still prevailed throughout the ages despite changes to its symbolic motives – structure has emerged as a vital tool of expression. Although the modern archi-tecture movement claimed to strip orna-mentation from its buildings, they almost unconsciously (and ironically) create a new form of ornamentation within its simplicity. Some critics have stated that monumentality is undesirable within the contemporary vernacular as it contains totalitarian ideals.1 However, in the Wyn-dham City Gateway competition, struc-ture will be used to create a new form of monumentality, one that creates excite-ment, joy and an intimate experience for its inhabitants. Through its rawness and calculated nature, structure provides the ultimate language for expressing prog-ress and evoking awe-inspiring emo-tions - an idea which has proliferated throughout architectural history.

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BIRD’S NEST LOCATION: BEIJING TYPOLOGY: STADIUM

CAPACITY: 80,000 YEAR: 2003-08

CASE STUDY 1HERZOG + DE MEURON

For the exploration in Case Study 1.0, I have attempted to reverse engineer the structural expres-

sion of Herzog and De Meuron’s Bird’s Nest in Beijing, Chine. Built as the main stadium for the 2008 Sum-mer Olympic Games, the Bird’s Nest creates an iconic symbol for Bei-jing through the marriage of ground breaking engineering and monu-mental scale. Using two different grasshopper definitions, I attempted to achieve the same cross pipe pat-tern. In the first definition (figure 1.), I aimed to create the effect of the Bird’s Nest by increasing the amount

of pipes that would sprout from the center of the circle geometry. It was found that the iterations with the fewer amounts of pipes gave a more accurate representation of the Bird’s Nest. The second definition in-volved connected a curve through 3 corresponding points of 3 different curves. From there, each list of points was shifted by a factor of 5 which in turn, created a crisscrossing ef-fect of the pipes. This was found to be effective in the iterations with a higher shift list value as it gave the geometries more of a random shape.

DESIGN APPROACH27

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FIGURE 1.

FIGURE 2.

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1 Henry , Christopher. “In Progress: King’s Cross Station / John McAslan + Partners” 24 Aug 2011. ArchDaily. Accessed 09 May 2013. <http://www.archdaily.com/162461>2 King’s Cross Station, Arup Engineering, 2012, London, < http://www.arup.com/Projects/Kings_Cross_Station.aspx>, date accessed 26 April 20123Rowan Moore, ‘London King’s Cross Concourse - Review’, in The Guardian, 18 March 2012, The Observer, <http://www.guardian.co.uk/artanddesign/2012/mar/18/london-kings-cross-concourse-review>, date accessed 25 April 2012

KING’S CROSS STATIONLOCATION: LONDON TYPOLOGY: TRAIN STATION

YEAR: 2012

CASE STUDY 2JOHN MCASLAN

For case study 2.0, we as a group decided to explore the new Western Concourse at King’s

Cross Station in London by John McAslan + Partners in association with ARUP engineering. Complet-ed in 2012 for the London Olympic Games, the semi-circular Western Concourse rises 20m high and spans 150m making it the largest single spanning station structure in Eu-rope.1 It comprises of 16 tree-like columns which flare outwards into the diagrid shell structure. The proj-ect has been described as “dynamic transport interchange and a destina-tion in its own right.”2 Rowan Moore

from the Guardian describes thebuilding’s effect as “a mighty oomph as you enter, from whatever direc-tion, caused by the abundance of space and the unity of the structure.”3 Moreover, the scale of the space is exacerbated by the flooding natu-ral light which pierces through the top of the central column structure. This flooding of light gave the space a unique spatial clarity. Also, the large scale space-truss form adds a sense of monumen-tality which leaves its occupants with a sense of awe; in our opin-ion, it makes its inhabitants feel a sense of joy and excitement.

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Case Study 2.0 Matrix - developed by Albert Chandra

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Using the Lunchbox plugin for Grasshopper, we attempted to recreate the notions of spatial quality and flooding light through various outputs in the Lunchbox framework.

As well as this, we also tried to take it further by adding pan-eling in an attempt to create a different quality. The qualities that we would like to take from King’s Cross are its monu-mental and awe-inspiring structural forms. As Rowan Moore put it, we will attempt to recreate that “oomp” feeling upon entry to the space. Whether this is created using the Lunchbox plugin on the opposite page, or completely from scratch, we will aim to explore these qualities in conjunction with other criteria we believe are pertinent to the site of Wyndham City.

KING’S CROSS STATION WESTERN CONCOURSE BREAKDOWN

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DESIGN INTENT

Wyndham city’s geographical location provides a unique opportunity to create a

monumental and unforgettable spa-tial experience that emerges from the landscape. The relatively empty space yearns for a place-making visual gesture. We believe the new gateway should serve as a symbolic bridging gap between the CBD and the greater suburbs – a threshold be-tween the two. This will be achieved through the expression of structure and spatial contrasts. Moreover, the definitive “threshold” between the two shall be defined through a gradual and smooth change in form. As the occupants will be travel-ling at 100km/h through the site, it is vital that we satisfy this intent whilst simultaneously accommodat-ing for the high speeds at which the space will be experienced.

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FORM FINDING

The next step in our process is to develop our own form (specific to the site of Wyndham City)

that will express our intentions of spatial contrasts, structural expres-sion, fluidity and monumentality. The following matrix is represents our findings in regards to these parameters. Each iteration shows a slight change in the form in order to achieve a different effect with regards to each criteria. From here, we can determine the best fit for the site at Wyndham. Another important criteria that we felt was extremely important to the success of this project was the idea of “feasibility.” This over-arching factor was critical as it was a real-world (and not con-ceptual) consideration which would ultimately drive all of the sub- cri-teria. Without it being a feasible op-tion in terms of construction meth-ods, costs and material availability, we feel the project will remain pure-ly conceptual and unachievable.

SPAT

IAL

CONTR

ASTS

STRU

CTUR

EM

ONUM

ENTA

LITY

FLUI

DITY

01 02 03

FEAS

IBIL

ITY

TECHNIQUEDEVELOPMENT

DESIGN APPROACH35

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04 05 06 07 08 09 10

Matrix developed in association with Merik Morley and Albert Chandra

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01 3D print model

02 3D print model

03 Shadow exploration of model

04 Exploded in-tersection joint

TECHNIQUEPROTOTYPE

Following on from our explora-tion of space trusses in the form of curved forms, we opted

to design a rough prototype model. Using 3D printing, we were able to fabricate a small scale model to show the stresses, movements and composition of each individual member. Even though the prototype model may not convey our final pro-posal or form, it was interesting to be able to physically hold and ro-tate the model in our own hands.

Consequently, we discovered a mul-titude of new challenges which may have been looked over had we not fabricated these prototypes. First-ly, we observed that each member was not actually made of straight members - many were curved on multiple planes. Secondly, through the use of artificial lighting, we ob-served that the structure produced a different shadow effect than first anticipated. Thirdly, the physical model made us question (if we had not already done so seriously) the real-life materials that were to be implemented. Our original idea was to employ steel members; however, the complex form forced us to re-consider the material selection. We also had to consider how these members would connect together at

1:1 scale as well as the appropri-ate construction methods for the Wyndham site. We considered weld-ing the members together. Howev-er, the process of welding on site is a tedious and time-consumind task, especially over a major free-way. One alternative method we explored was a concealed bolted method which joined two members together at pinched ends. The joint would then be concealed with an aluminium sleeve to create the il-lusion of seamless connections. Al-though this is a logical alternative, it was pointed out that the bud-get for the Wyndham City Gateway competition is two-hundred and eighty dollars. To accomplish such a highly detailed joint with this mod-est budget renders it unfeasable.

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02 03

05

05 Assembled intersection joint

06 Exploded member sec-tion

07 Assembled member sec-tion without sleeve

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06 07

Photographs of model by Albert Chandra. Renders produced by Merik Morley

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TECHNIQUEPROPOSAL

in regards to feasibility. We are continuously pushing the boundar-ies of these criteria whilst keeping in mind the pragmatic and realistic constraints. We believe this will give us a well-rounded and re-searched outcome. Our findings are as follows:

FLUIDITY:

Firstly, we opted to pursue itera-tion number 07 in regards to fluidity. It’s form and liquid nature clearly describes the notions of gradual change. The movements are dynamic yet smooth without being abrupt or jagged. We believed this sec-tion was important due to the high speed at which the users will oc-cupy the space at. Another reason we chose not to pursue others with large sweeping curves was because of costs and construction methods.

STRUCTURE:

Next, we analysed structure. We found that iteration number 06 the best fit. This was due to its simple and controlled structural layout. Too many lines and nodes may make it hard to read or make it read as a continuous unperfo-rated surface. Not enough lines or nodes may completely remove this structural expression. We may have to reduce the number of nodes and lines slightly to accommodate for costs and building logistics.

Using the form finding matrix de-veloped in the Technique Devel-opment section, we were able

to compare and contrast the various iterations. Each option was critically assessed in regards to its structur-al, monumental, fluid and spatially contrasting properties. Furthermore, each option was also assessed

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MONUMENTALITY:

Although the iteration 08 is hard to picture due to the top view of the matrix, we found that the scale of the structure would heavily influ-ence the monumental quality of the gateway. We were happy with this scale because we felt it was large enough to convey our desired effect. However, it was small enough to still be manageable from a construc-tion and cost point of view. Other aspects, such as form curvature, contrast in space and structure are also intertwined in creating an awe-inspiring sense of monumentality.

SPATIAL CONTRASTS:

Lastly, we assessed the fitness of each of the Spatial Contrasts itera-tions. Each of these provided dra-matic and evocative spaces. How-ever, the one which stood out and intrigued us the most was number 04. It was fluid in its motion while also creating gradual changes in lengths. The end of taper downwards which also gives the impression of an emerging form from the landscape.

WHERE TO NOW?The next step now is to develop these four ideas further. We will continue to optimise each of these iterations and attempt to combine each itera-tion with each other. After all, we are creating one gateway design, not four. Once we are able to synthe-sise all of these parameters as well as it being constructible and budget satisfying, we will begin to proto-type a form which is site specific.

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ALGORITHMICSKETCHES

The following images are a few screenshots of some outcomes using a twisting loft to repre-

sent the change in areas from sub-urban to urban. Whilst incorporating a variety of different strategies to illustrate this contrasting threshold. These are rough concepts of how we might incorporate structure.

The sketch below shows a braced grid structure with an overlaying panel system. The structure is then twisted in the centre to provide a change in material which can be seen. This idea of materials assigned to a certain place reflects the ideas of material representation from Part A and would be a very compelling exploration. Undoubtedly, the idea is interesting and dramatic. However, in relation to the group’s design focus and feasibility, this path may be better suited to another project.

The sketch below shows something quite unusual which was created by mistake. I have included this “mistake” because to me, it illus-trates structure’s limits in terms of constructability and the mes-sage it aims to convey. Although it was unintended, it reminded me that the use of structure has to be controlled on so many levels. If we create something completely wild, the meaning will become morph into something quite different.

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The following sketch shows this controlled use of struc-ture being applied to a form.

If and when fabrication of the built and scale models are needed, mate-rial propoerties of piping were ex-plored. For the sake of a scale phys-ical model of the gateway proposal, we looked into alternatives for pipes and came up with a square section as opposed to a circular pipe. This would be easier to fabricate on a large and small scale. However, if it hinders the design intention, we may have to continue looking for another method. The image below was created by simply dividing a series of curves and apply ing per-pendicular frames to these points. Square frames were then applied at these points, then, lofted together to form square hollow sections.

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Following on from the mid-semester presentations, we found we had a long road ahead of us (pardon the

pun). The general feedback we received was that we had not yet developed a clear form and it was ultimately going to be the type of structure we chose that would truly inspire our form. We were asked: “do you want to design with a set struc-ture and joint in mind? Or do you want to be more open and develop the criteria to suit the structural system?” Therefore, we decided to re-think our inspiration and what we were intending to portray as this remained very convoluted dur-ing the presentations. We sat down and looked back on what we originally set out to achieve and from there, we elaborated and specified what was important to us. As stated, our new intent is as follows:

LEARNING OBJEC-TIVES AND OUTCOMES

“The new gateway should serve as a symbolic bridging gap between the CBD and the greater suburbs – a thresh-old between the two. This will be achieved through the expression of structure and spatial contrasts. More-over, the definitive “threshold” between the two shall be defined through a gradual and smooth change in form.”

superficial understanding of structure. More importantly, it did not reflect our design intent through structure. Conse-quently, we decided to take the advice of our tutors to incorporate the site and de-vise clearer design intent. The two meth-ods of thinking are illustrated on the right; the top diagram shows our process prior to the presentations and the bot-tom shows more rigorous and interroga-tive approach. In terms of my personal parametric design skills, I believe they’ve improved significantly especially after approaching the presentations. The new approach made me criticize and continu-ously change and develop design aspects within the grasshopper environment. Tri-al and error, and independent research forced me to learn new techniques.

WHAT NEXT?

This resolved definition immediately gave us a clear direction to follow. Prior to the mid-semester presentations, our de-sign technique was purely formulated by applying a structural algorithm to a surface. This method showed a very

From here, we will keep refining and de-veloping our design technique in order to satisfy our design intent. Once that is completed, we will look at applying our technique to the site in greater detail. This will comprise of where it will sit on the site, how it will be connected, material selection and lighting at night etc. Other site specific factors such as weather and traffic conditions will also be considered in the next phase. More prototyping, 3D modeling and superimposing will also be explored. Hopefully, by the end of part C, we will develop a highly convincing and eye-catching gateway. Stay tuned.

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SELECTED CRITERIA

STRUCTURAL EXPRESSIONFLUIDITY

CONTRASTING SPACEMONUMENTAL

FEASIBLE?

REFINE

FEASIBLE?

APPLY TO SITE CONTEXT

OUTCOME

PROPOSAL

REFINE

YES

NO

NOYES

BROAD CRITERIA

SELECT STRUCTURE

TYPE

APPLY TO SIMPLE FORM OUTCOME

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PART C. PROJECT

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In this final part of the Design Stu-dio Air Journal, we hope to con-clude this journey with a highly

eye- catching and resolved freeway installation. After weeks of toying and tinkering with parametric de-sign, we finally get to build and cre-ate tangible outcomes. In my opinion, this is one of the most exciting stag-es because we finally get to picture our creations with some real-world context. Throughout the final stages of the semester, many prototypes and physical models were created to aid us, our tutors and guest crit-ics in visualising the project pro-posal. Our explorations led to a finished product which would span approximately 250 meters long and roughly 60 meters wide. It would be constructed using an interlaced “grid shell” system (although not a grid shell) and be made of laminated plywood. The structure forms a con-tinuous and sweeping curve which cantilevers out over the freeway and is sunken into the ground with deep concrete footings to accommodate for the weight of the cantilever.

The following pages illustrate our rationale...

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01 Typical Grid Shell Construc-tion method

02 Grid Shell Prototype

03 Typical Grid Shell Construc-tion technique showing push-ing and pulling

GATEWAY PROJECT:DESIGN CONCEPT

THE PROBLEM WITH GRID SHELLS

The developed design intent featured in Part B: Expression of Interest will heavily influ-

ence our design concept and will drive the decision making process in Part C. From the mid-semester presentations, the design has al-tered drastically and a true idea of form has been developed. Instead of the original steel piping method, we have opted for a new construction technique which expresses struc-ture as clearly, if not better, than its predecessor. We looked into precedent grid shell projects and how they are constructed and the principles behind them. The Weald and Down-land Open Air Museum by Buro Happold and Edward Cullinan in 2002 was one project we explored in terms of its tectonic elements and large spanning curves. What we aimed to achieve by explor-ing these grid shell structures was to encapsulate the same sense of fluidity of form and apply it to our site. However, as we discov-ered, grid shell structures have a unique and strict set of principles to which they must abide by. In a research essay by Ce-line Paoli entitled Past and Future

of Grid Shell Structures, grid shells are defined as a doubly-curved sur-face formed by the pushing and pull-ing of a flat surface made of parallel lines moving in two directions. Upon uncovering this definition, we found it impossible to achieve a true grid shell with the form we had already developed in Part B – developing a true grid shell would result in the loss of our underlying ideas of fluid-ity and contrasting space. Despite our findings, we decided to move forward with the notion of a grid shell and instead develop the techniques and effects that a grid shell has to offer rather than restrict ourselves to the rules.

01

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02

03

04

The resulting outcome, although quite unique, posed even more di-lemmas. In image 02 and 03, double layered grid shell prototype high-lighted all the problems that we would encounter when attempt-ing to apply it to a curve which was tapered at both ends. Diagram 01 shows a typical grid shell con-struction method showing a three-dimensional surface formed from a flat grid with parallel members.

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The following diagram illustrates the breakdown of each layer and the direction they face. As shown, the space between each member varies which results in a structure which

resembles a grid shell although it is completely incongruous.

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As stated previously, grid shells have a very particular set of rules to abide by in order for them to be classified

as grid shells. Therefore, by implementing the similar characteristics of a grid shell, we will be creating a structure quite original which would require unique construction method. In a research essay by Celine Paoli entitled Past and Future of Grid Shell Structures, Paoli identifies structures which resemble grid shells, but are not fixed at both ends, as reticu-lated surfaces. We believe what we are designing follows more along these lines. We began at looking at some grid shell tectonic elements and ma-terials to find a similar solution. Many grid shells used typical lumber which tends to split or crack in tension. Oth-ers opted for plywood which is much more flexible and provides a reason-able amount of strength. We decided to pursue the plywood material by testing its strength as well as experimenting with how easily the members could be

curved. We constructed 1:10 prototypes and found they were extremely useful in demonstrating compression and tension.Next, we looked at jointing techniques employed by grid shells and found one method which uses a simple pin to pierce through the members to hold them in place. Therefore, we constructed a pro-totype to model this outcome. We then decided that this pin-joint method may not be suitable for such a long spanning structure. By looking at the Weald and Downland Open Air Museum, we were able to identify a joint patented by Hap-pold and Cullinan which incorporates the use of steel plates which sandwich the members togethers with several bolts. Therefore, we constructed another 1:10 prototype to demonstrate the joint meth-od. This method was found to be more suitable to the task needed as it al-lowed for slight movements and provided much more strength if something were to fail with one or more of the bolts.

BUILDING A RETICULATED SURFACE

PART I.A “HANDS-ON” APPROACH

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Original single pin joint

Triple plate method (Downland connection method)

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As well as intersection joints, we had to also consider how long each member would be broken into. Each

member needed to be large enough to avoid discontinuity but at the same time, small enough to fit onto the back of a truck. We decided 6 meter length would be sufficient as most trucks can carry around 7-8 meters. However, if we were going to break the members into parts, a joint would be needed to quickly assem-ble on site. It would also need to be as seamless as possible without compromis-ing overall strength. Thus, we developed

a joint which would interlock the two members with glue, then be triple bolt-ed. This method requires no welding and can be carried out extremely efficiently.Similar to the devised intersection joint, this element can be repeated throughout the structure. As regular grid shells get their curves from the pushing and pull-ing of the flat surface, it is impossible to achieve the same outcome with the form adopted. Therefore, each piece of ply-wood must be prefabricated off-site to achieve the smooth and undulated curve.

BUILDING A RETICULATED SURFACE

PART II.A “HANDS-ON” APPROACH

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01 Final location of structure

02 Diagram il-lustrating traffic movement

03 Geelong, Wyndham, CBD directions

ON SITE LOCATIONAND LOGISTICS

THE HOW AND WHERE

The site at Wyndham is ex-tremely large and elongated. We saw this as an opportunity

to experiment with site position-ing and scale in order to achieve the most effective outcome for the structure. Site C appeared too small in terms of the scale we want-ed to impose. Consequently, we looked at Site A and B more closely. We wanted an area of the site which would compliment the original desired effect of a smooth contrasting space and monumental-ity. We decided the location needed to be road side to allow for cars to experience the space from start to end. We also wanted a maximum number of cars to experience the new structure. Site B was limited to only inbound traffic and made the ex-perience for outbound occupants slightly too distant. We decided Site A, near the south-west corner of the site, was the most appropriate as it allowed for the maximum number of cars to pass regardless of its desti-nation. Diagram 2 shows the move-ment of traffic through the site. As pictured, the site funnels down into a bottle neck. As occupants drive

confronted by a structure which at first appears symmetrical when they view it along its axis. However, as one approaches it closer, the speed at which they travel adds to the effect of a chang-ing space and movement. Driving outbound from the city, one receives quite a different experience. The structure does not cantilever over the outward bound road but instead provides a different perspective. Occupants can view the movement and change in form from the outside of the structure. We hope this structure will prompt oc-cupants from both the inward and outward sides of the road to want to experience the opposing views.

01

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02

03

On site construction incorporates the use of conventional construc-tion techniques such as footing sys-tems but also require some unorth-odox methods of construction. As previously touched on in “Building a Reticulated Surface”, each member will be pre-cut to size, treated and curved. This is achievable through parametric modelling as each

individual curve can be isolated andfabricated individually. From the factory, each piece of timber can be transported to the site via truck. The section immediately near the sunken footings can be assembled by hand. However, as the structure grows, the use of a crane may be needed to hoist the remaining structure in place.

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THE FINAL PROJECT

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To the left are two images of a 1:50 model which forms part of the structure. We made this model of thin timber veneer which we laser cut each individual strips from. We

developed a model using Rhinoceros, then unrolled the struc-ture to a flat surface. The unrolled strips, although flat, were not straight. When assembling the pieces back together, the structure began to take its place once again. The spacing and location of the holes determined how much each member would curve. The curve is predetermined, unlike regular grid shells.

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01 3mm plywood strips

02 Laying wood glue

03 Curved plywood with clamps

THE MAKING OF:JOINT MODELS

BENDING PLY

When constructing the joint model prototypes, we wanted to make the process as similar to the real life process as possible. Therefore, it was important to use materials that would resemble the materials implemented at 1:1 scale. We first cut 40mm wide strips from 3mm ply-wood using a jigsaw. These strips would then be 6 layers thick and would form a singular timber mem-ber. Next we glued these members together. To achieve the smooth curve, we drilled a hole through one end of the layers and threaded a piece of string with a knot in the end. Then, on the opposite side we cut a slit to hold the other end of the string. We then pulled the string tight to create tension as the glue was setting. Lastly, all we needed to do as clamp the pieces together to make sure the layers were tight and compacted with no gaps.

03

01

02

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04

05

06

04 Plywood kept in tension

04 Finished product held in place

05 Orbital sand-ing to smooth out edges

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The final presentations brought a mix review of constructive criticism from the panel. Overall we believed we had

strong concept and a well resolved final freeway installation. Therefore, we were quietly confident with the work we pre-sented and as a result, we felt we were quite successful. Of course, there were a few areas of improvement and sugges-tions from the panel. Firstly, there were some concerns over the use of grid shell tectonics and whether or not the struc-ture was stable enough to be cantilevered over the freeway. During the presentations, the de-sign came across as a grid shell because of the terminology we used and this was picked up and questioned. Another com-ment made was in regards to how the structure would look in 20 or 30 years. Since the structure is made of laminated plywood, ageing and weathering will oc-cur despite protective layers. As a result the panel pointed out that this inevitabil-ity may have been an interesting part of the design which could have added an-other dimension of originality. Perhaps some parts weathered faster than others to create some sort of visual effect. In terms of the 1:500 site model, a greater contrast between the en-vironment and the structure could have been shown. The panel suggested that it was quite hard to make out the instal

LEARNING OBJECTIVES AND OUTCOMES

lation. A coat of spray paint might have been beneficial in highlighting the struc-ture on site.

THE FINAL REVIEW

WHAT HAVE I LEARNT?This semester has been unlike any other studio class I have experienced in the past. Throughout the first few weeks, I really struggled to come to grips with the amount of reading and theory that was needed to prepare myself for the rest of the semester. I felt as if all the read-ing and research we undertook was not amounting to anything. It wasn’t until I started to truly engage with the subject and architecture as a discourse that I finally felt I was learning something new. This isn’t to say I thought I knew everything from the be-ginning. In fact, it was quite the opposite. I found it difficult to link the discussions from the studios to something relevant to Melbourne or something that I have experienced personally. The next few weeks were much easier once we started to research case

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studies that were sources of inspiration for the gateway project. During the group work and Part B phase I started to feel much more comfortable with the Grass-hopper environment. Through making and developing different varieties of matrices, the impact and benefits of computing in architec-ture became clear. Things could be cre-ated quickly, efficiently and accurately by simply changing inputs and outputs. The idea of “optioneering” enabled us to pick, choose and continually refine algo-rithmic outcomes to improve our designs.Parametric modelling has proven to be an invaluable skill which will stick with me throughout my career as an architect. Its possibilities are near infinite and its ap-plication can be used even when design-ing something completely non-paramet-ric.One of the biggest things I can take out of Architecture Design Studio Air is the process in which we’ve been forced to design through. We found that when we were in the early stages of design-ing, problems and changes would appear very early on and as a result could be fixed way before the fabrication process.

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References

Celine Paoli, ‘Past and Future of Grid Shell Structures’ (Massachusetts Insitute of Technology, 2007).

Christopher Henry, ‘In Progress: King’s Cross Station / John Mcaslan + Partners’2011) <http://www.archdaily.com/162461> [Accessed 9 May 2013].

David Basulto, ‘Mercedez Benz Museum’, ArchDaily, (2010) <http://www.archdaily.com/72802/mercedes-benz-museum-un-studio-photos-by-michael-schnell/> > [Accessed 4 April 2013].

Designtoproduction, (2013) <http://www.designtoproduction.ch/content/view/15/28/> [Accessed 4 April 2013].

Diego Hernandez, ‘The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch’, ArchDaily, (2013) <http://www.archdaily.com/317207> [Accessed 1 April 2013].

King’s Cross Station’, Arup Engineering, (2012) <http://www.arup.com/Projects/Kings_Cross_Station.aspx> [Ac-cessed 26 April 2013].

Kostas Terzidis, Algorithmic Architecture (Hoboken : Taylor & Francis, 2012).

‘Mad Architects’, MAD Architects, (2010) <http://www.i-mad.com/#works_details?wtid=4&id=48> [Accessed 1 April 2013].

Richard Williams, ‘Architecture and Visual Culture’, Exploring Visual Culture: Definitions, Concepts, Contexts (2005), 102-16.

Rowan Moore, ‘London King’s Cross Concourse - Review’, ed. by The Guardian (The Observer, 2012).

‘Sinosteel International Plaza by Mad’, 2008) <http://www.archiscene.net/hotels/sinosteel-international-plaza-by-mad> [Accessed 1 April 2013].

‘The Therme Vals / Peter Zumthor’, ArchDaily, (2009) <http://www.archdaily.com/13358> [Accessed 27 March 2013].

‘Unstudio’, UNStudio, (2006) <http://www.unstudio.com/projects/mercedes-benz-museum> [Accessed 4 April 2013].

Sofia Balters, ‘Ad Classics: Leça Swimming Pools / Alvaro Siza’, ArchDaily, (2012) <http://www.archdaily.com/150272> [Accessed 30 March 2013].

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