STUDIO

A I RSEMESTER 1, 2015

DIANA GALIMOVA

D I A N A _ _ G A L I M O V AS I D _ 6 4 0 9 4 0

S T U D I O _ 0 9A L E S S A N D R O _ L U I T I

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5 INTRODUCTION6 PART A

TABLE OF CONTENTS

7 DESIGN FUTURING THE PIXEL BUILDING, STUDIO 505 THE LEARNING HUB, HEATHERWICK STUDIO10 DESIGN COMPUTATION ADPAC, ZAHA HADID ARCHITECTS CANOPY DESIGN, DAL12 COMPOSITION + GENERATION LOUIS VUITTON MUSEUM, GEHRY PARTNERS SUTD GRIDSHELL, CITY FORM LAB

14 CONCLUSION15 LEARNING OUTCOMES16 APPENDIX18 REFERENCES

20 PART B21 RESEARCH FIELD SECTIONING: CONTOURING + WAFFLE GRIDS GRIDSHELLS + FORM FINDING24 CASE STUDY 1.0 SG12 GRIDSHELL, MATSYS30 CASE STUDY 2.0 BANQ RESTAURANT, OFFICE DA TECHNIQUE34 DEVELOPMENT38 AREAS OF INTEREST 40 PROTOTYPES 42 PROPOSAL

45 LEARNING OBJECTIVES + OUTCOMES46 APPENDIX48 REFERENCES

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D E S I G NJ O U R A L

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I N T R OD I A N A _ G A L I M O V A _ _ 6 4 0 9 4 0

I am currently working part time in a small interior architecture firm, which focuses on commercial and industrial interior architecture. Working at the firm is where I’ve acquired most of my experience with computer aided design and digital morphogenesis. Some of my experience with CAD also comes from university subjects such as Virtual Environments, as well as personal projects. However, admittedly I have limited experience with Rhinoceros 5 and Grasshopper, as I largely work with AutoCAD, Revit and Dynamo (which is the parametric plug-in of Revit, which functions much like Grasshopper).

In many of my past studio projects I’ve focused more on the arts and crafts aesthetic, so it’ll be interesting and challenging employing such a vastly different and far more precise design approach for Studio Air.

Hi, I’m Diana.I am a third year Bachelor of Environments

student at the University of Melbourne, majoring in Architecture. I was born in

the Ural Mountain Region of Russia, and moved to Australia at the age of 10.

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PART ACONCEPTUALISATIONWEEKS 1 - 3

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DESIGN FUTURING

The Pixel Building, designed by Studio 505, is a 6 Star Green Star rated building located in Carlton. The modest four-level commercial office is “Australia’s Greenest Office Building”1; it was designed to be carbon neutral and water balanced. The status was achieved through the employment of a plethora of sustainable design strategies, such as the use of a photovoltaic array; free night cooling using automated façade control systems; the gas absorption chiller (which hadn’t previously been used in commercial buildings in Australia); as well as an anaerobic digester which utilizes the methane created from black water & waste for the heating of water etc. The use of these innovative technologies and the exceptional performance results set a precedent for sustainable office design. However it is important to note that most of these technologies aren’t exactly new, but they’re elegantly integrated within the design in a way which is perhaps innovative, considering that the building is ranked one of the most sustainable office buildings in the world. Additionally, the building is said to be “future proofed”2, meaning that it is designed to anticipate and adapt to future changes and developments in technology, which would enable the building to continue to exhibit exceptional performance as well as prolonging the life of the building. Hence, in this sense, the design provides an immediate response to the present, as well as considering the building’s life in the long term.

THE PIXEL

1 Grocon, The Pixel, Melbourne, <www.pixelbuilding.com.au/greenicon.html>, [accessed 20 March 2015]2 Grocon, <www.pixelbuilding.com.au/lowemission.html>, [accessed 20 March 2015]3 Studio 505, Facade Pattern Development, Melbourne, <http://www.studio505.com.au/admin-resources/image-tools.php?w=874&q=95&src=/pixel/pixel-4-adjusted.jpg>, [accessed 20 March 2015]

FIGURE 1: Facade Design3

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The technologies in The Pixel were utilized in such a way that they enrich the urban fabric, as well as contribute the world of sustainable and passive design. An example of the integration of sustainable methodology and aesthetics is notable in the colourful paneling on the façade, which controls daylight glare as well as the passive heating of the interior spaces. This integration is important in future design, yet the consideration of this is omitted by theorists such as Tony Fry. In his book ‘Design Futuring’, he discusses

the idea of sustainability and the power design has over our planet’s future; however, he talks about shifting the design approach away from professional architects and designers, and doesn’t quite consider the potential impact this may have on aesthetics. The redirection of power away from the designer, a person who had been trained to marry these various aspects of design, could potentially have devastating consequences – such as the generation of joyless and unpleasant buildings and spaces.

FIGURE 2: The Pixel building exterior4

4 Studio 505, Pixel Facade, Melbourne, <http://www.studio505.com.au/work/project/pixel/8>, [accessed 20 March 2015]

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The Learning Hub, designed by Heatherwick Studio, was recently built for the Nanyang Technological University in Singapore. The building was intended to create appealing educational spaces for the students of the university. The form of the internal classrooms is rounded in shape, to eliminate the spacial hierarchy of typical educational spaces5.

Much like The Pixel, the design also incorporates a number of commonly used sustainable building approaches, and was awarded with a BCA Green Mark Award for sustainability, despite the technologies used weren’t particularly cutting edge and innovative. I feel perhaps this is not the best approach for design futuring, as it doesn’t necessarily offer anything new to the sustainable design initiative. The building is attractive in the way it integrates green spaces and vegetation; however, this approach now feels pretty cliche and overdone - you almost always see some kind of vegetation or garden on most “sustainable” buildings, as though this is the best and only solution in the problem of sustainability. Perhaps, this recurring addition in design merely gives these projects the appearance of being green.

The building also seems like it contradicts the ideology which drove it; the idea of creating a pleasant internal environment. I feel that perhaps the building is quite as pleasant internally as it strives to be. To me it still feel very much like the typically dingy, dark pedagogical building. This is largely due to the lack of access of natural light, which is always

LEARNING HUB

5 Heatherwick Studios, The Learning Hub, <www.heatherwick.com/learning-hub/>, [accessed 20 March 2015]

FIGURE3: Learning Hub Render6

welcomed in office and educational spaces, as it is conducive to productivity. Perhaps this choice was made because it was most appropriate to the climatic conditions of the region; however, I feel like it’s a missed opportunity to design the pleasant interior environment which the development strives to achieve. Due to this, the building may be undervalued by users and ultimately overlooked as an example of best practice for sustainable architecture.

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DESIGN COMPUTATION Computation has been a topic of great debate since the late 20th century, as it introduces a new and vastly different method for design. It allows us to deal with greater complexity and achieve greater precision than ever before. It allows us to engage with more fluid, geometrically complex and convoluted forms, as well as providing an alternative means of fabrication. Furthermore, it allows for the integration of structural consideration and design, with various facets of architecture - such as the design itself, the plumbing, the structural detailing, services etc. Design computation is no longer merely an experimental methodology, it is now used widely to design, fabricate and realize projects. This offers a plethora of new design opportunities, which previously would not be achieved or achieved with great difficulty.Despite being a useful tool for the modern day designer, this method of design production recieves criticism due to its potential constraints to creativity, as you’re restricted by the parameters set by the programmer, and restricted by the algorithm you’re designing (making it some sort of “false creativity”6. Perhaps computation also makes design more reproduceable, and therefore of a lesser value.

6 Lawson, Brian (1999), “Fake and Real Creativity Using Computer Aided Desig: Some Lessons from Herman Hertzberger,’ in Proceedings of the 3rd Conference on Creativity & Cognition, (New York: ACM Press), pp. 174 - 1797 Hadid, Zaha, The Abu Dhabi Performing Arts Centre, Abu Dhabi, < http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/>, [accessed 20 March 2015]

FIGURE 4: ADPAC7

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The Abu Dhabi Performing Arts Centre, by Zaha Hadid Architects is yet to be completed. The centre is designed to contain music halls and theatres. The fluid, organic and sculptural form, which is characteristic of the design firm, is created through the use of computation and parametric design. This form and this type of streamline aesthetic would otherwise not be realisable; therefore, computing redefines what is conceivable and lifts the previous design constraints. As mentioned previously, the integration of engineering and structure with architectural design in the programs not only allows designers to achieve such impressive forms, as well as allowing them to see what is structurally viable.

ADPAC The DAL Canopy design project, was designed and built by Digital Architectural Lab in 2011. The project was executed with the use of computation and digital fabrication. As seen above, the plywood panels were cut by a laser, numbered, then assembled by the design team. The complex panelized form, the panels of which vary according to the curvature of the main frame, was created using parametric design and would otherwise be practically impossible to conceive. In summation, these two examples make it clear that there are many forms and design typologies which could not be built, nor perhaps even imagined without the use of the algorithmic thinking and computation.

DAL CANOPY DESIGN

FIGURE 5: DAL Canopy with Cat8 FIGURE 6: DAL Canopy Panels9

8 DAL, Canopy Design, ArchiDaily, <http://www.archdaily.com/165298/dal-canopy-design-digital-architectural-lab/sony-dsc-142/>, [accessed 20 March 2015]9 DAL, Canopy Design, ArchiDaily, < http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1314815079-12-dal-canopy-panel-installing-2.jpg >, [accessed 20 March 2015] 11

COMPOSITION+GENERATION

In the recent decades, there’s been a noted shift from composition to generation in architectural practice and literature. Generated design is the use of algorithmic thinking, parametric modeling and digital morphogenesis. This new tool for design allows architects to “distill the underlying logic of architecture and create new environments in which to explore designs and simulate performance”10, hence it provides an exciting opportunity to reinvent architecture and the construction/building industries. For instance, using computational and parametric modeling software allows designers to simulate building performance, the environmental conditions within the buildings throughout the year (through programs such as EcoTect), they’re able to test the stresses and loads of the structures, as well using this methodology for the generation of various other kinds of data. This allows us to analyze and make changes to any facet of the design, to optimize the performance of any given design. For example, in Frank Gehry’s LV Museum, the lighting conditions within the building were tested prior to finalization of the design. This was done through spacial simulation, which then allowed for the design and the form to be altered to make the internal conditions more comfortable.

The other advantage of generation is the way it intrinsically links the virtual and the physical world together though the practice of digital fabrication.11 This too enables the designer to achieve a greater spectrum of complex forms and structures. Both the

SUTD Gridshell Pavilion by City Form Lab, and the Louis Vuitton Museum by Gehry Partners both relied on digital fabrication to some extent. The STUD was cut directly from the parametric model by the Laser Cutter, yet the LV Museum’s beams and structural components were bent and shaped using the computer model (however, this is clearly a less direct method of fabrication). The ability to fabricate and create forms exactly how they were shown in the model is beneficial for construction as were now able to achieve greater accuracy, even when engaging with complex curvilinear geometries.

Computation provides an opportunity for more sophisticated and intelligent design, yet sometimes it seems like the designs are devoid of character. The surfaces are sometimes perhaps too precise and curvilinear, which in some cases strips the designs of some sort of essence or character.

10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf11 Peters, (2013), pp.1412

FIGURE 7: Louis Vuitton Museum12

FIGURE 8: Louis Vuitton Museum13 FIGURE 9: SUTD Gridshell14

12 Gehry Partners, Foundation Louis Vuitton Museum, Paris, (2002), <https://angelapascale.files.wordpress.com/2015/02/fondation-l-vuitton-geostaff.jpg>, {accessed 23 March 2015]13 Gehry Partners, Foundation Louis Vuitton Museum, Paris, (2002), <http://4.bp.blogspot.com/-pZAlnR6imRQ/VEpufS7q0tI/AAAAAAAAKBU/

GFZOm7RWBjo/s1600/Fondation-Louis-Vuitton-pour-la-creation-by-Frank-Gehry-15.jpg>, [accessed 23 March 2015]14 City Form Lab, SUTD Gridshell, (2013), < http://cityform.mit.edu/projects/sutd-gridshell.html#credits>, [accessed 23 March 2015]

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C O N C L U S I O NS U M M A R Y _ O F _ P A R T _ A

Part A introduced the ideas of computerization vs computation, parametric design, algorithmic thinking and the possibilities of digital fabrication. Additionally, this first unit of our design project gave us a more clear understanding of the advantages, opportunities, constraints and shortcomings of the above. In this studio, I hope to further develop my skills and understanding of computation, and effectively employ them in my design for the Merri Creek site.

My intended design approach for this project thus far is to create an ephemeral structure, with which users may physically engage. Hence, I’d perhaps like to explore movable, lightweight structures, such as gridshells, panelised forms or even inflatables. I feel like perhaps it is necessary to create temporary architecture for events, or other park activities to benefit the park users and the community around the parkland. The space, I feel needs to be temporary to respect it’s surrounding environment, and therefore only exist in that space only as required. And to be a temporary structure, it needs to be able to be compacted, folded or deflated. Using Rhinoceros and the Grasshopper plug-in, I’ll be able to explore

the form of the unfolded structure, as well as ways in which it may be compacted and stored.

The design proposal will also hopefully be considerate of sustainability and explore in which one may be able to create with minimal damage done to the surrounding space and environment. This may be explored through materiality of the structure, as well as minimizing the amount of materials used due to careful consideration and manipulation of the structure. It would be both interesting and challenging to develop a system and algorithm for a structure which can be physically manipulated and changed.

This approach may not be entirely innovative yet; however, I hope to develop an efficient system and structure which benefits the users of the park, as well as offering a series of other benefits to the immediate environment.

CONCLUSION

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Prior to this learning module, as mentioned previously, I had fairly rudimentary knowledge of computer aided design and digital morphogenesis. I also had little understanding of the logic these programs actually employed to synthesize the outcomes from the set parameters and algorithms. Therefore, I ultimately didn’t quite know how to control these computational programs, so the designs I previously produced were perhaps only created by chance (as well as the method of trial and error)- not through thoughtful manipulation. Perhaps also due to my previous lack of knowledge I used to hold the view that computation was indeed a type of “false creativity”15; however, now I see it more as a means of dealing with complexity. Having acquired some knowledge about the process and ideas of computation, it is likely that I would make a plethora of amendments to my past studio projects. Firstly, I would probably engage with forms of greater complexity, perhaps make the projects more aesthetically captivating. Secondly, the designs would be more carefully considered and manipulated, rather than conceived by chance. Hence, overall I believe that continuing in the learning of architectural computing would benefit my practice in the future.

LEARNING OUTCOMES

15 Brian Lawson (1999), “Fake and Real Creativity Using Computer Aided Desig: Some Lessons from Herman Hertzberger,’ in Proceedings of the 3rd Conference on Creativity & Cognition, (New York: ACM Press), pp. 174 - 179

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A P P E N D I XA L G O R I T H M I C _ S K E T C H E S

These sketches are from the week two Pavilion algorithmic task. The first structure was created using the Weaverbird plug-in in Grasshopper, and the second using the interlocking Driftwood technique. In class, we were shown how to achieve these effects, and I went on to think about how these techniques may be used in my future design. For the Driftwood method, I thought about creating a conceivable strcuture, which would stand upright through the use of interlocking panels. The panels following tangential axes would easily slot together, if they were precisely cut using a router or laser cutter. I included these particular sketches because I looked back at past projects that I had done using Rhino, and thought about how much longer these would have taken me to achieve without the use of grasshopper. In my first year, in Virtual Environments, I used the interlocking panels method for my final project, and creating this sort of form and panel system took much longer without the use of algorithmic thinking. These examples demonstate the power of parametric design, in allowing you to design with greater complexity and precision, in a much shorter period of time.

ABOUT THE SKETCHES

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DRIFTWOOD

WEAVERBIRD

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R E F E R E N C EL I S T : P A R T _ ACity Form Lab, SUTD Gridshell, (2013), < http://cityform.mit.edu/projects/sutd-gridshell.html#credits>, [accessed 23 March 2015]

DAL, Canopy Design, ArchiDaily, < http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1314815079-12-dal-canopy-panel-installing-2.jpg >, [accessed 20 March 2015]

DAL, Canopy Design, ArchiDaily, <http://www.archdaily.com/165298/dal-canopy-design-digital-architectural-lab/sony-dsc-142/>, [accessed 20 March 2015]

Gehry Partners, Foundation Louis Vuitton Museum, Paris, (2002), <https://angelapascale.files.wordpress.com/2015/02/fondation-l-vuitton-geostaff.jpg>, {accessed 23 March 2015]

Gehry Partners, Foundation Louis Vuitton Museum, Paris, (2002), <http://4.bp.blogspot.com/-pZAlnR6imRQ/VEpufS7q0tI/AAAAAAAAKBU/GFZOm7RWBjo/s1600/Fondation-Louis-Vuitton-pour-la-creation-by-Frank-Gehry-15.jpg>, [accessed 23 March 2015]

Grocon, The Pixel, Melbourne, <www.pixelbuilding.com.au/greenicon.html>, [accessed 20 March 2015]

Grocon, <www.pixelbuilding.com.au/lowemission.html>, [accessed 20 March 2015]

Hadid, Zaha, The Abu Dhabi Performing Arts Centre, Abu Dhabi, < http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/>, [accessed 20 March 2015]

Heatherwick Studios, The Learning Hub, <www.heatherwick.com/learning-hub/>, [accessed 20 March 2015]

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Lawson, Brian (1999), “Fake and Real Creativity Using Computer Aided Desig: Some Lessons from Herman Hertzberger,’ in Proceedings of the 3rd Conference on Creativity & Cognition, (New York: ACM Press), pp. 174 - 179

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

Studio 505, Facade Pattern Development, Melbourne, <http://www.studio505.com.au/admin-resources/image-tools.php?w=874&q=95&src=/pixel/pixel-4-adjusted.jpg>, [accessed 20 March 2015]

Studio 505, Pixel Facade, Melbourne, <http://www.studio505.com.au/work/project/pixel/8>, [accessed 20 March 2015]

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PART BCRITERIA DESIGNWEEKS 4 - 8

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RESEARCH_FIELD My main chosen field of focus for the design project is sectioning. Sectioning branches out into two slightly different types: contouring and waffle grids. Contouring is the repetition of parallel elements along one axis or along a curve; only the panels running in this direction are generally articulated. The panels running tangentially to this main grain act as the structure which holds the panels together, yet is often chosen to be hidden. In Waffle Grids; however, there are two core axes which interlock in a similar way to contouring, yet both of the axes are articulated. I feel sectioning is an interesting area of study because firstly, with varying degrees of complexity, the technique has the capabilities of being an easy and fast assembly, an example of which is flat pack furniture, such as “Finish It Yourself” Chair by Studio David Craas. Yet, it can also be highly complex and effective like the “Baker D. Chirico” by March Studio. Hence the method

allows you to achieve varying degrees of complexity, which can easily be assembled by a user, or either be carefully manufactured and fabricated by a designer. Therefore, Sectioning (like Gridshells), can be quickly and easily assembled for use in a park setting for an event or other occasion, or used as a more permanent installation or pavilion. The other interesting thing about this method is the fact that the forms and apertures can be utilised in interesting ways. In the instance of Waffle Grids, as seen in the “Baker D. Chirico” by March Studio and the “Café Zmianatematu” (Lodz) by Kurkowski, Nieciecki and Wojcicki (2010), the apertures of the waffle grids may be utilitarian and used as shelving or product displays, and are not purely aesthetic. In the instance of the Café, the elegant curvilinearity of the contoured form may be designed for function, and act as a bench, albeit probably not the most comfortable one.

SECTIONING

1 March Studio, ‘Baker D. Chirico’, RevistaPlot (2012), <http://www.revistaplot.com/wp-content/uploads/2012/05/105.jpg> [accessed 20 April 2015]2 MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Shelf, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/photo_14.jpg> [accessed 20 April 2015]

FIGURE 1: CAFE D. CHIRICO1 FIGURE 2: ZMIANATEMATU CAFE3

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The main difficulty with the technique could be the assembly, as it requires precise detailing for each of the sectional panels. These panels need to have slits to enable them to interlock; these slits must all run half way down the width of the panel, and the width of the slits must correspond to the thickness of the material used for modelling. If you’re dealing with a more complex geometry, such as the “BanQ Restaurant”, you must also ensure to apply numbers or markers to each of the panels to indicate how they may interlock. This is the technique which will be studied and iterated in Case Study 1.

3 MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Render, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/render_2.jpg> [accessed 20 April 2015]4 Office dA, ‘BanQ’ Restaurant Exposed Render, ArchDaily (2008), <http://ad009cdnb.archdaily.net/wp-content/uploads/2009/12/1259702259-bnq-cp-001.jpg> [accessed 23 April 2015]

FIGURE 3: ZMIANATEMATU 3

FIGURE 4: BANQ RESTRAUTANT 4

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Gridshells are lightweight frame structures, typically fabricated from steel or timber laths. The main benefit of Gridshells is their ability to create complex curvilinear geometries, as seen in the SG12 ‘Gridshell’. They’re also structurally quite sound and can achieve long spans, yet achieve a high degree of transparency, as they’re typically built from thin members. Furthermore, Gridshells can be fabricated and assembled offsite and transported to site with great ease, due to their ability to fold up (in the case of the 2-axis grid, as the elements can often rotate at the notch). The transparency allows light to pass through the grid apertures and into the built space, which creates interesting shadows. The apertures can be used to hold panels glass or other forms of panelling in between the grid elements, which allows the grids to be waterproofed. The design of Gridshells often relies on form finding, which is the process of designing optimal structural geometries through the use of experimental tools, such as modelling, to simulate potential outcomes and general performance. Often, catenary models (reverse hanging method) are used to research potential arrangements of the laths and elements, as these serve as inverses of the gravitational forces the Gridshell would experience. The design can also be modelled in Rhinoceros to create a structure of an optimal performance; this process involves the computer interactively searching for an optimal solution to the posed problem. The program uses a type of Genetic Algorithm which is based on the mathematics of natural selection, and then produces a series of possible candidates. The results also display the performance and loading of each element or area on the surface.

GRIDSHELLS

5 MATSYS, ‘Smart Geometry 2012’, MATSY Design (2012)<http://matsysdesign.com/category/projects/sg2012-gridshell/> [accessed 21 April 2015]

FIGURE 5: MATSYS GRIDSHELL5

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CASE_STUDY_1SG12 GRIDSHELL

MATSYS (2012), SAN FRANCISCO

FIGURE 6: MATSYS GRIDSHELL6

The SG12 was a 4 day project which was attempting to create a complex curvilinear geometry of a surface curved in two directions. The form was generated using Karambra and Kangaroo plug-ins in Grasshopper, which in fact generated a number of possible outcomes (which were most structurally sound). The form was fabricated used a CNC router which cut the required number of timber laths along the grain of the timber, as well as cutting the necessary

notches/connection points. These notches were largely connected using metal bolts; this still allowed for some rotation along this axis, which is necessary for such a sinuous form to fall into place. This, however isn’t always the case with Gridshells, and in come cases there will be rigid connections at the notches to ensure rigidity of the overall structure - this type of connection could not achieve such a sinuous form as seen in the SG12.

6 MATSYS, ‘Smart Geometry 2012’, MATSY Design (2012)<http://matsysdesign.com/category/projects/sg2012-gridshell/> [accessed 21 April 2015]

G R I D S H E L L S

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CHANGING NUMBER OF POINTS ON CURVE

FAMILY 1 - ITERATION OF GRID

DECREASING NUMBER OF POINTS

INCREASING LIST DISPLACEMENT (10 POINTS) FURTHER INCREASE OF DISPLACEMENT (20 POINTS)

ADDING THIRD AXIS INCREASING NUMBER OF POINTS (3 AXIS GRID)

DECREASING NUMBER OF POINTS ALONG NAKED CURVE CULLING 2 DIAGONAL AXES

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INTERSECTION OF CURVE POINTS

FAMILY 2 - PATTERN VARIANCES

ADDING THE NAKED CURVES TO EQUATION

HEXAGONAL GRID STRUCTURE APPLIED TO FORM NUMBER OF CELLS IN X & Y AXES DECREASED

APPLYING 2D RECTANGULAR BRACED GRID INCREASING NUMBER OF CELLS IN X AXIS

APPLYING 1D GRID STRUCTURE CULLING THE BRACING FROM 1D STRUCTURE

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STRIPPING OF THE LOFTED SURFACE

FAMILY 3 - STRIPPING + MATERIALIZATION

DECREASING NUMBER OF STRIPS

SQUARE GRID APPLIED TO FORM + CURVES EXTRUDED INCREASE OF APERTURE SIDE (DECREASE NO. OF CELLS)

HEXAGONAL CELLS APPLIED + EXTRUDED NUMBER OF CELLS DECREASED (X & Y INPUTS)

1D BRACED GRID STRUCTURE APPLIED TO SURFACE MAIN GRID REMOVED, ONLY BRACING IS EXTRUDED

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HEXAGONAL STRUCTURE APPLIED + CURVES EXTRUDED

FAMILY 3 - NEW FORM + POTENTIAL FOR CONSTRUCTION

1 WAY BRACED MESH APPLIED + RESULT EXTRUDED

MESH DIRECTION SHIFTED 45 DEGREES SURFACE PANELLING APPLIED TO GRID

TRUSS STRUCTURE (ONLY BRACING) + PIPED NUMBER OF CELLS DECREASED WITH SLIDER

PIPED TRUSS CREATED (INCLUDING ALL ELEMENTS) HEXAGONAL CELLS APPLIED TO PIPING

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SELECTION CRITERIA: To an extent, the most important selection criterion for this Case study was aesthetics, but perhaps also the perceived potential of the form/structure; in selecting these forms, envisioning their potential development and fabrication also was an important factor. Hence the factor which most drove the sequences of variations was aesthetic effect. In terms of aesthetics, all the chosen forms seem to display an element of uniformity and repetition. This uniformity could serve as a contrast to the natural conditions of Merri Creek, as it would be juxtaposed against the roughness and dynamism of the natural site. This uniformity is also of benefit, because it allows the opportunity to perhaps even distort and alternate densities of the elements in a structure to create interesting shadows and lighting quality. This distortion in pattern mat also play some utilitarian role. In the case of #1 and #2, it is interesting the way the apertures and grid spacings get significant smaller compared to

the outer edge of the form. Furthermore, the chosen iterations also display some degree of consideration of utility and function, for example #3 includes the use of paneling within the grid apertures, which could be developed to be utilized as waterproofing or shading (particularly important for creating an outdoor space). The variation #4 is particularly interesting because it breaks away from a single plane grid. The points point inwards and outwards in a crystalline arrangement, which seems unexpected - there’s essentially an added dimension (a Z factor) to the previously flattened gridshell pattern. These four examples are particularly remarkable because they are potentially fabricatable. Numbers 1, 2 and 3 are created using strips, which could be bolted at the notches, and number 4 is created using piping. The piping example is slightly different in terms of fabrication and requires a more complex connection, as the other method of connection wouldn’t work with the round profile.

REFLECTION

1

2

3

4

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CASE_STUDY_2

BANQ RESTAURANTOFFICE dA (2008), BOSTON

S E C T I O N I N G

The Banq Restaurant is contained within an old savings bank in Boston. The visible structure is comprised of CNC Routed timber slats which run along a single axis. The structure aims to conceal columns, plumbing and mechanical systems under the canopy of dense repeating boards. These panels also enhance the acoustic performance of the potentially noisy restaurant. The contouring of the panels enhances and compliments elements of the existing building (such as the columns), whilst still respecting the original fabric of the historic bank through the use suspension. Hence, the aim of the project was intended to mask the undesirable elements of the enclosure, yet also highlight some original elements of the site - such as the original red brick wall. I don’t really think the project is particularly remarkable or successful. It doesn’t really seem like an appropriate addition to a historic site, largely because the structure had covered most of the original fabric. There was an opportunity to further enhance this original fabric of the container by highlighting the original elements to a greater extent and leaving more exposed. This could perhaps could be achieved through increased spacing between the panels, or through various voids in the overall geometry.

In terms of digital fabrication, however, I think it’s a fairly interesting project. The precision with which the elements of the new structure fit into the existing space is quite elegant and remarkable. There is some beauty in the way the new additions encase the existing columns and wine fridge; therefore, in that regard it seems somewhat sensitive to the site, as the form is designed specifically around such elements. What is also fascinating about this Contouring effect is the way in which only one axis is articulated, giving the structure an illusion of floating, as there is seemingly no structure to hold the panels. As you can see on the right, the structural elements of the design are above the panels, and are quite discreet. Had this same form been created using waffle grids, the resulting form would not look quite as light, and would be much more intrusive. In addition, of course, a waffle grid would be extremely difficult to apply and assemble in this space.

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7 Office dA, ‘BanQ’ Restaurant Exposed Render, ArchDaily (2008), <http://ad009cdnb.archdaily.net/wp-content/uploads/2009/12/1259702259-bnq-cp-001.jpg> [accessed 23 April 2015]8 Office dA, ‘BanQ’ Restaurant Axonometric, ArchDaily (2008), <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/12/1259702368-exploded-axo-582x900.jpg> [accessed 22 April 2015] 31

REVERSE ENGINEERING

PHASE 1 PHASE 2 RESULT

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CURVE LOFT CAP SET BREP

CUTTINGCURVE OFFSET EXTRUDE

SERIES

Z FACTOR

BREP/BREP

DECONSTRUCT

BREP (FORM)

SURFACE SPLIT BAKE

BAKED FORM UNGROUP DELETE

Phase 1 - Creating Geometry:1. Curves drawn in Rhino Space2. The curves are referenced in Grasshopper individually, then Lofted using the loft command in Grasshopper3. The lofted surface is Capped using “Cap Holes”4. The geometry is baked and referenced as a BRep in GH

Phase 2 - Sectioning:1. A straight curve is drawn parallel to the grain of the section of the Banq2. The curve is offset. To adjust the offset distance, a Series component is added to the “Distance” input of the Offset command. Two number sliders are used for the “Step” (distance between curves) and “Count” (the number of curves producted by the offset.

3. The resulting array of curves serves as the “Base” input in the Extrusion command.4. To create an extrusion, a direction of extrusion needs to be selected, in this case it’s on the Z axis. Therefore, the extrusion needs at Z direction input with a slider to determine the height of extrustion.5. Now than the planes have been created, ensure the geometry created in Phase 1 is within the array of cutting planes.6. The intersection between the two surfaces can be determined using BRep/BRep. The extrusion also needs to be deconstructructed using the BRep Deconstruct tool. The results are then connected into the “Surface Split”, which then cuts the planes using the BRep geometry.7. Bake, ungroup and delete unwanted elements.

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FAMILY 1 (IMAGE SAMPLING)

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FAMILY 2 (FORM + CUTTING CURVES + ATTRACTOR POINTS)

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FURTHER DEVELOPMENT

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In creating the 50 iterations, a technique which I was particularly drawn to was paneling using attractor points. As you can see in the 5 adjacent outcomes, the panels have been created using a single or multiple attractor points. This approach could be interesting when applied to an outdoor setting, such as a pavilion form, as it could create interesting shadows, yet also mild lighting conditions underneath (the ways of the sun wouldn’t pass through all of the apertures, as they wouldn’t always be running parallel to the panels. Hence there’s an opportunity to manipulate the sun, light, wind, and other natural conditions for the design. Furthermore, due to the angle of the panels, the form would appear to be less solid, as a larger number of panels would be running parallel a viewers line of vision. This sense of lightness could not be achieved in a right angled waffle grid, as majority of the panels would block the line of site through the structure. The selection criteria for my most successful outcomes of Family 1 and Family 2 were determined by their aesthetic appeal, their functionality and form. The selected iterations (on page 34 and 35) could potentially serve as pavilions. The first form, the boxy pavilion, the form of which was voided using a 3D voronoi mesh. It was section in 2 directions. One running parallel the long side of the plan, the other plane was created through the use of attractor points. The use of an attractor point created this radial array of panels. The second form, the dome, applied similar principles to the prior. It too was sectioned using an attractor point; however, this time, I thought about possible sight lines of the person standing within this small pavilion, as well as the motion of the sun around this pavilion (and how this would affect the resulting shadows). This pavilion would be bright inside, but it’d

block out the sun’s rays. The third chosen form was mainly chosen due to its combination of Contouring and Waffling techniques, as you may see, the form is Waffled on top and Contoured on the bottom. This form is more scuiptural than the other two, but it has a number of intimate voids which could be occupied by a couple of people, or used as children as a hiding place. Following this selection, I chose to further develop those few outcomes, and the results are on the left. The structures were created using now more than a single attractor point. There are now 2-3 points per form. This created an interesting effect in the first 2 outcomes - the form seems to resemble a fly. These designs would allow light to enter from the very top few panels, but the sides are much more solid, and would not allow any light to pass through. The two cubic pavilions are less plausible, and would be harder to fabricate; however, the flat faces of the cube really demonstrate the effect that the attractor points and varied densities has on a form. Case Study 2 revealed various ways in which the technique of sectioning can be manipulated and made more interesting. The exploation of angles, curves, densities, directions and forms aided me in understanding ways in which these could be utilised in the final design, and how they can potentially serve a function.

REFLECTION

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AREAS OF INTERESTL I G H T + F U N C T I O N

The thing which is most intriguing about gridshells and sectioning is the different geometric pattens which can be applied to a complex form. The techniques both allow light to pass through the voids, and the patterns cast remarkable shadows and create interesting lighting effects. Above are examples of some of the achievable patterns and approaches, and a demonstration of the resulting shadows. Hence

patterning of the structure is something I shall be exploring in the synthesis of the final design. The second thing which is interesting (specifically in sectioned designs) is the ability to incorporate functional elements such as shelving and seating. The seating and shelving couldn’t be achieved, or at least with ease through the use of gridshells, as contoured structures are generally more rigid.

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9 Pavilion Architecture, ‘KREOD’ Gridshell, Pinterest (2012) <https://s-media-cache-ak0.pinimg.com/736x/61/78/68/6178685588704d4d2631be3b40c786a9.jpg> [accessed 20 April 2015]10 Student Work, ‘Toledo Pavilion’ (2012), Gridshell Italy, <http://andreafio.re/wp-content/uploads/gridshell_toledo_02.jpg> [accessed 23 April 2015]11 Foster & Partners, ‘The Great Court’, Wikipedia (2000)<http://upload.wikimedia.org/wikipedia/commons/1/19/British_Museum_Great_Court_roof.jpg> [accessed 27 April 2015]12 Alvaro Siza, ‘Serpentine Pavilion’, Tumblr (2009) <http://41.media.tumblr.com/tumblr_m1ag5vgJja1qadkcno1_1280.jpg> [accessed 29 April 2015]

13 March Studio, ‘Baker D. Chirico’, RevistaPlot (2012), <http://www.revistaplot.com/wp-content/uploads/2012/05/105.jpg> [accessed 20 April 2015]14 March Studio, ‘Baker D. Chirico’, RevistaPlot (2012), <http://www.revistaplot.com/wp-content/uploads/2012/05/115.jpg> [accessed 20 April 2015]15 MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Render, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/render_2.jpg> [accessed 20 April 2015]16 MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Shelf, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/photo_14.jpg> [accessed 20 April 2015 39

P R O T O T Y P E SF A B R I C A T I O N + A S S E M B L Y

In terms of materiality, it was always clear that the material which would be chosen for the fabrication of this technique would need to be lightweight, strong, able to perform well under tension as well as compression, and preferably flat (albeit forms such as Gridshells could potentially also be fabricated from various steel profiles in some larger commercial applications). A flat surfaced material is preferable in this case, because it allows the designer to either create flexible, lightweight laths for the Gridshell, or rigid, grooved panels for Gridshells and Contorting. For this project, I am inclined on fabricating my design out of timber or another natural material (albeit being pretty clichéd for this technique). I will certainly attempt to shift way from the cliches and avoid using conventional materials for the technique; however, so far timber seems appropriate for the Merri Creek site. For my research fields of Sectioning and Gridshells, this seems like an appropriate choice, as this materials works very well with these types of structures. Timber performs exceptionally well in tension, which is the force Gridshells and sectioned forms as typically subjected too, yet it also performs well under compression.

In the process of fabrication of the various forms, I attempted the three algorithms which we were provided with by the ExLab; the application of the technique to Surfaces, Solid Forms and Existing waffle grids - the results of the attempts are on the right. The provided algorithms created all of the slits at the notches

at the correct thicknesses on each of the panels, which were then numbered and unrolled. Following that, the file was set up and sent off to the Laser Cutter at the Unimelb FabLab. After the panels were cut out, I began to manually assemble them according to the numbers on the panels. Not all of the prototypes were successful, due to errors in notch depth etc.; however, it was interesting to see how the errors affected the models (see displacement of Prototype 4). The panels slide into one another, no glue should be required - in theory. However, because the card was thin, soft and slightly smooth, the panels were able to slide apart, warp and be folded flat. This wouldn’t occur with a more rigid material; so the performance of a waffle structure largely depends on the rigidity of the material. These prototypes don’t exactly reflect the final design or proposal, they’re merely an exploration of the technique. It was a way to understand the way in which the structures worked, and how they could be potentially assembled or disassembled. Interestingly, I actually found myself prefering the failed, messy and chaotic Prototype 4 over the clean, neat, rigid Prototype 3. There’s something special about the contained chaos; the structure isn’t very rigid, and does not perform as a gridshell ought, yet there’s something aesthetically attractive about it. This is coming I can aim to emulate in the final design through the manipulation of grid densities, patterns and directions of sectioned panels.

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PROTOTYPE 1 - WAFFLE FROM SOLID FORM PROTOTYPE 2 - WAFFLE OF TORUS

PROTOTYPE 3 - WAFFLE OF SURFACE

PROTOTYPE 4 - DISPLACED WAFFLE PROTOTYPE 4 - DISPLACED WAFFLE

PROTOTYPE 3 - WAFFLE OF SURFACE

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The site I have chosen for my design is located 4 kilometers from Melbourne’s CBD. It is the present site of the Collingwood Children’s Farm Farmers Market, as the name may suggest, the site is situated adjacent to the Collingwood Children’s Farm, as well as the Abbotsford Convent. This particular site is nestled in the bend of the Merri Creek, and contains a large, barren field with little vegetation other than the lawn. Therefore, the site is quite open and unprotected from the sun, as there is very little tree cover. There is also very little else located on site in terms of areas of interest, as can be seen in the aerial photographs of the area (courtesy of Google Maps). Hence, the site if infrequently utilised for activities other than the Farmers Market, which is held on the second Saturday of every month. At present, the CCF Farmers Market isn’t the most pleasant environment. Due to the lack of shading and cover, the site is quite harsh and bright. There is very little cover from natural conditions. The stalls are set up under flimsy marquees which don’t provide much protection, yet they’re also not terribly attractive. When it rains, the site becomes a muddy mess, and when it’s sunny, you keep having to need to cover your eyes. And once the market is over, the site is underutilised and there is no landmark or footprint of the market once the stalls are packed away. Furthermore, despite the proximity of the site to a body of water, there is a distinct disconnect between the two established by dense, low lying vegetation along the river bank. To address these issues, I am proposing a structure which could provide some cover from the

harsh natural conditions of the site, as well as serving as a notable landmark for the market. Through the use of my technique of Sectioning, the structure could also be utilised by business owners to act as a part of their stall. The apertures of the Gridshell or Waffle Grids could act as shelving or product display, as seen in the “Baker D. Chirico” by March Studio, and the “Café Zmianatematu” in Lodz by MX3. These stalls could also include a number of various functional elements to make the design more utilitarian and beneficial for the salespeople. To enable the structure to cater for a few businesses/stalls, the form would need to include some spatial distinctions. A serpentine form could be a potential solution in terms of creating these distinctions. Outside of the market hours, as mentioned previously, the structure could be used as a landmark, a meeting place. Alternatively, as Gridshells and Waffles are easy to assemble, it may also be interesting to only leave a footprint (in plan), but to have the rest of the structure be ephemeral. When the stall/form needs to be reassembled, the strcuture can in fact then attach to the footprint/base. Hence, seating and places for leisure will also be incorporated into the design. In summation, outside of the market hours, the structure will act as the spatial marker for the market for local residents and visitors. In terms of techniques, in my design I plan on focusing on sectioning, however combining it with elements of gridshells. To generate a desirable form and to design an optimal structure, I shall be using form finding plugins such as Kangaroo and Karamba.

DESIGN PROPOSALF A B R I C A T I O N + A S S E M B L Y

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17 NGV, ‘CCF Market’, NGV, (2012)<http://content.ngv.vic.gov.au/submitted-photos/cwm/screen/344.jpg> [accessed 1 May 2015]

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My main selection criteria for the final outcome are that:

1. The design needs to produce an interesting aesthetic effect and resulting shadows, through the use of patterning and culling

2. Be functional for business owners and market visitors, as well as be a place of leisure outside of the market hours

3. Provide shading and some protection from the site conditions

4. Needs to be noticeable, to serve as the special marker (this of course depends on the size, materiality, texture and form)

5. And possibly to be a form which can be easily disassembled and temporarily stored offsite (like flat pack furniture) - if I choose not to leave a landmark, but perhaps only a footprint (something like a concrete slab or deck).

In the combination of Gridshells and Waffles, I am to achieve interesting effect by distorting the panels and apertures. The disortions may vary on site conditions, the sun path/shading, functionality (for market), as well as aesthetic effects. The distance between the panels may also vary, dependent on the function of a certain part/area of the structure - for intance, the panel array would need to be much closer together in places of rest and seating, as it is more comfortable for the user. Yet in some other cases, it may be best to have a slightly lesser density to perhaps allow for views, shelving, etc. As seen in the KREOD Gridshell (on page 38), I am also unresticted in the patterning used for the form. It can be rectiliear, hexagonal, circular etc - however, this will of course require different types of connections between panels, and perhaps a simple rectilinear grid would be much easier to assemble (if I did pursue the flat pack/easy assembly option).

CULLING APERTURES (DISPLAYS/SHELVING)

CREATING INTERESTING PATTERNS + SHADOWS

APPLICATION OF TECHNIQUE

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LEARNING OBJECTIVES In Part B, through my selected case studies, I’ve been exploring the techniques of Sectioning and Gridshells. Additionally, I’ve attempted to use the technique of form finding though the Kangaroo Physics, and I am starting to experiment with Karamba 3D. Both Kangaroo and Karamba are based on the idea of form finding; however, the latter also provides the user with a calculation of forces and a simulation of structural performance (with the inclusion of material faults and imperfections). These will be used for the generation of a more refined form of the final design. The creation of the 80 iterations of the Case Studies in Part B encouraged me to explore different methods of fabrication, different materials (piping, laths, rigid panels), as well as potential achievable geometries and forms. I found myself experimenting with the types of planes and surfaces which could be used to materialize the technique, for example, the use of curved sections, angled sections, sections generated according to a number of attractor points etc (as seen in Case Study 2). Overall, I now feel more confident in the use of the software, which enables me to further develop and add greater complexity to the final project. The fabrication of my prototype in part B5 also helped me to further develop and understanding of my technique of focus (Sectioning). Yet it also helped me to further understand the structural and performative differences between gridshells and waffle grids. Albeit, they can often be aesthetically similar, yet it’s the types of connections at the notches is what largely differentiates them. This also allows me to now potentially to alter the pattern & apertures, potentially cull some of the panels to create a more random, bird’s nest-like structure, and

even to alter the design of the grid to make the design more utilitarian. The process of digital fabrication and prototyping gives me a greater understanding of my technique, which means that I will now be able to potentially explore the use of more unexpected, and perhaps more sustainable materials. I feel like I am a lot more capable and confident in terms of digital morphogenesis and fabrication, as I’ve achieved a greater understanding of the design process in this module. Part B helped me to think critically about the context, and consequently helped in constructing and refining the brief and the selection criteria of the future design. The brief which addressed the CCF Farmers Market is responsive to context, and would potentially be of benefit to the market and its business owners. The design of the selection criteria informed the brief, and it solidified the ideas which I want to communicate though the design and engage with in due course. The list of criteria itself was informed through the engagement of Case Study projects, as well as other precedents (such as the Zmianatematu Cafe + Baker D. Chirico) which had employed a similar technique in the past; however, of course also informed by the selected site. All of the elements are interconnected, which will hopefully result in a strong design in Part C.

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A P P E N D I XA L G O R I T H M I C _ S K E T C H E S

SECTIONING WITH ATTRACTOR POINTS

All of the cutting planes are pointing towards a single movable attractor point on a curve, which could be potentially useful in my future design. For istance, this would potentially create an interesting shadow throughout the day, following the movement of the sun.

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KARAMBA FORM FINDING

The plug in creates structurally sound caterary structures from flat surface patterns (emulating the reflected model methodology). This technique could be ideal for creating a Gridshell for the final design.

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R E F E R E N C EL I S T : P A R T _ BFast Co. Design, ‘CNC Routed Chairs’, Room Eon (2010) <http://de.roomeon.com/img/post/90d45b0a43_xxl.jpg> [accessed 27 April 2015]

Foster & Partners, The Great Court, Wikipedia (2000)<http://upload.wikimedia.org/wikipedia/commons/1/19/British_Museum_Great_Court_roof.jpg> [accessed 27 April 2015]

March Studio, ‘Baker D. Chirico’, Formakers (2012), <http://www.formakers.eu/media/97.258.1332225610.01-recity%20magaziene%20-%20Baker%20march%20studio%20DC%20007.jpg> [accessed 20 April 2015]

March Studio, ‘Baker D. Chirico’, RevistaPlot (2012), <http://www.revistaplot.com/wp-content/uploads/2012/05/115.jpg> [accessed 20 April 2015]

March Studio, ‘Baker D. Chirico’, RevistaPlot (2012), <http://www.revistaplot.com/wp-content/uploads/2012/05/105.jpg> [accessed 20 April 2015]

MATSYS, ‘Smart Geometry 2012’, Karambra (2012) <http://www.karamba3d.com/wp-content/uploads/2012/07/sg2012gridshell_closeup.jpg> [accessed 20 April 2015]

MATSYS, ‘Smart Geometry 2012’, MATSY Design (2012)<http://matsysdesign.com/category/projects/sg2012-gridshell/> [accessed 21 April 2015]

MATSYS, ‘Smart Geometry 2012’, MATSY Design (2012)<http://matsysdesign.com/wp-content/uploads/2012/04/IMG_9469.jpg> [accessed 21 April 2015]

MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’, ArchPlatforma (2011), <http://core.archplatforma.ru/imgs/newsimgs/09_2011/photo_7.jpg> [accessed 20 April 2015]

MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’, PSU (2011), <http://sites.psu.edu/kchicoine/wp-content/uploads/sites/489/2013/04/Zmainatatu-2.jpg> [accessed 20 April 2015]

MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Render, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/render_2.jpg> [accessed 20 April 2015]

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MX3: Kurkowski, Nieciecki & Wojcicki, ‘Cafe Zmianatematu’ Shelf, AecCafe (2011), <http://www10.aeccafe.com/blogs/arch-showcase/files/2011/09/photo_14.jpg> [accessed 20 April 2015]

NGV, ‘CCF Market’, NGV, (2012)<http://content.ngv.vic.gov.au/submitted-photos/cwm/screen/344.jpg> [accessed 1 May 2015]

Office dA, ‘BanQ’ Restaurant Axonometric, ArchDaily (2008), <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/12/1259702368-exploded-axo-582x900.jpg> [accessed 22 April 2015]

Office dA, ‘BanQ’ Restaurant Exposed Render, ArchDaily (2008), <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/12/1259702385-perspective-01-1000x646.jpg> [accessed 22 April 2015]

Office dA, ‘BanQ’ Restaurant Exposed Render, ArchDaily (2008), <http://ad009cdnb.archdaily.net/wp-content/uploads/2009/12/1259702259-bnq-cp-001.jpg> [accessed 23 April 2015]

Pavilion Architecture, ‘KREOD’ Gridshell, Cumbu (2012) <http://www.cumbu.com/wp-content/uploads/2013/02/Kebony-KREOD-Sculpture-by-Pavilion-Architecture-03.jpg> [accessed 20 April 2015]

Pavilion Architecture, ‘KREOD’ Gridshell, Pinterest (2012) <https://s-media-cache-ak0.pinimg.com/736x/61/78/68/6178685588704d4d2631be3b40c786a9.jpg> [accessed 20 April 2015]

Alvaro Siza, ‘Serpentine Pavilion’, Tumblr (2009) <http://41.media.tumblr.com/tumblr_m1ag5vgJja1qadkcno1_1280.jpg> [accessed 29 April 2015]

David Sokol, ‘Banq Restaurant’, Australian Design Review (2009), <http://www.australiandesignreview.com/interiors/661-banq> [accessed 23 April 2015]

Student Work, ‘Toledo Pavilion’ (2012), Gridshell Italy, <http://andreafio.re/wp-content/uploads/gridshell_toledo_02.jpg> [accessed 23 April 2015]

Studio David Craas, ‘Finish It Yourself’ Chair (2012) <http://www.davidgraas.com/finish-it-yourself#1> [accessed 21 April 2015]

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STUDIO

AIRSEMESTER 1, 2015

DIANA GALIMOVA