STUDIO AIR JOURNAL
2015, SEMESTER 1, CHRISTOPHER DUNKLEY
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CHRISTOPHER DUNKLEY 2015 ALESSANDRO LIUTI
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CONCEPTUALISATION
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CONTENTS 1
INTRODUCTION
PART A: CONCEPTUALISATION
4 4 5 9
A1.0 DESIGN FUTURING A1.1 DISCUSSION A1.2 PRECEDENT PROJECT 1 - SPANISH PAVILION A1.3 PRECEDENT PROJECT 2 - ONE MAIN STREET
12 12 13 15
A2.0 DESIGN COMPUTATION A2.1 DISCUSSION A2.2 PRECEDENT PROJECT 1 - SERPENTINE PAVILION A2.3 PRECEDENT PROJECT 2 - GANTENBEIN VINEYARD
18 18 19 21
A3.0 COMPOSITION / GENERATION A3.1 DISCUSSION A3.2 PRECEDENT PROJECT 1 - BARCELONA FISH A3.3 PRECEDENT PROJECT 2 - THE ABSOLUTE TOWERS
23 24 25
A4.0 CONCLUSION A5.0 LEARNING OUTCOMES A6.0 APPENDIX - ALGORITHMIC SKETCHES
PART B: CRITERIA DESIGN
33-34 35 36
B1.0 B1.1 B1.2 B1.3
RESEARCH FIELD PRECEDENT PROJECT 1 PRECEDENT PROJECT 2 PRECEDENT PROJECT 3 -
37-38 39-42 43
B2.0 B2.1 B2.2
CASE STUDY 1 - GREEN LAVA VOID DESIGN EXPERIMENTATION DESIGN ITERATIONS
44 45-46
B3.0 B3.1
CASE STUDY 2 - MUNICH OLYMPIC STADIUM REVERSE ENGINEER DESIGN
47-50 51 52
B4.0 B4.1 B4.2
TECHNIQUE: DEVELOPMENT TECHNIQUE: DISSCUSION TECHNIQUE: SELECTION CRITERIA
53-54
B5.0
TECHNIQUE: PROTOTYPES
55-56 57-58
B6.0 B6.1
TECHNIQUE: PROPOSAL- SITE CONTEXT DESIGN : PROPOSAL
59
B7.0
LEARNING OBJECTIVES & OUTCOMES
60
B8.0
APPENDIX - ALGORITHMIC SKETCHES
61-62
- REFERENCES
PART C: DETAILED DESIGN
27
REFERENCES
C1.0 C2.0 C3.0 C4.0
DESIGN CONCEPT TECTONIC ELEMENTS & PROTOTYPES FINAL DETAIL MODEL LEARNING OBJECTIVES & OUTCOMES
CONCEPTUALISATION III
Introduction
Hi,
my name is Christopher Dunkley I am currently a third year student studying Bachelor of Environments at the University of Melbourne. Currently, I am also working as a draftsman at Rudds Engineering to fur ther extend my exper tise in the building industr y while studying.
FIG.1 REVIT PRO
I was born and raised in Canberra, Australia where I attained an Advanced Diploma of Building Design at the Canberra Institute of Technology (CIT) in 2013. Through this study as well as others I am capable in many drafting and 3D modelling soft wears such as Auto CAD, Revit, ArchiCAD, Vectorworks and others. This has allowed me to be involved in some of my ver y first building design plans with small scale projects. Digital Architecture is something that is new for me to be learning. I am not completely familiar with Rhino and it is my first time using Grasshopper however I am hoping my previous skills and quick learning will help me to overcome the challenges and learn to take full advantage of digital designing.
FIG.3 REVIT PRO
1
CONCEPTUALISATION
OJECT OF 2013
FIG.2 REVIT PROJECT BOAT HOUSE
OJECT BOAT HOUSE- COURT YARD
CONCEPTUALISATION 2
Part A Conceptualisation
3
CONCEPTUALISATION
A1.0 Design Futuring
A1.1 Discussion
Design
has always been an on going, transforming tool for man-kind and helping us shaping our perfect world, however is it time for us to re-invent our way thinking and bring in the new era of tools for our world? Tony Fr y’s book, ‘Design futuring sustainability, ethics and new practice’ suggest that design must be changed in order to overcome the issues of global warming and create not only a sustainable future for our natural environment, but also for our biodiversity and wellbeing (1). To achieve this there needs to be a push to advance the design and development of constructional products, not only the way in which they are constructed, but also by creating interdisciplinar y solutions. Suggested by Fr y is the idea of design intelligence, which he believes can be the solution, and from that potential, the design style of the current era (2). This can bring great advantage towards future design by creating ground breaking solutions to the current problems, or limitations of design. As well as this, the idea of design intelligence can allow designers to take a fur ther leap into research, experimentation and advancement towards securing human advancement and sur vival. To fur ther this, I have offered two built projects that that in some ways reflects the purpose of what is preached in this discussion and show potential in design intelligence.
CONCEPTUALISATION 4
A1.2 Precedent Project 1
FIG.4 SPANISH PAVILION
T
he Spanish Pavilion project is one of the most striking architectural designs in my opinion. There is no one spot where the eye is focused to directly but rather draws the eye to capture the design as a ‘whole’ object. This design has been set to focus on the idea of the future and moving towards a low and high tech combined process of building as well as looking at sustainable applications(3). It draws on the idea of studying the old traditional methods of Spanish basket making and applies them to a modern, new, creative building form through computational design to allow the structure and form to be a reality. By this concept the design actually won the prize for the top future project at the world architecture festival in 2010. Tagliabue has created the design from using a simple and sustainable material called wicker, a type of willow wood, and forms them into woven panels that then clad the steel structural frame and shape of the building. This technique aims to bridge both traditional eras of design as well as connections between the involved countries, Spain (the designer), Germany (the producer) and China (the host) and many others which give connection between all (4).
5
CONCEPTUALISATION
The Spanish Pavilion Bendetta Tagilabue- Miralles Tagliabue Architects 2010
FIG.5 MATERIAL WICKER PANELS
FIG.6 INTERNAL VIEW LOBBY AREA
With the steel frame acting as the bones of the design Tagialbue used the wicker panels not only as an international, traditional and sustainable design style, but also to allow great flexibility and creativity on which to make the vir tual/ digital drawing designs become an easy-to-build reality while also having a lighter impact in material use and embodied energy (5). These ideas behind the pavilion has allowed the design to be appreciated well into the future by capturing the theme of traditional culture, something that has always been appreciated world-wide, and allowing to form into modern sustainable design.
CONCEPTUALISATION 6
FIG.7 SPANISH PAVILION INTERNAL ROOF DESIGN
A1.3 Precedent Project 2
This
Architectural design tends to focus more on the interior designing, however is still ver y successful in expressing and promoting the exploration of design intelligence and computational architecture. The architect, Mark Goulthorpe of dECOi Architects is a par t of a small company that is highly focused towards new design technologies and strategies. As well as this he is also a teacher at the Massachusetts Institute of Technology (MIT) where he spends a lot of time in small scale projects that redefine todays common materials e.g. the Hypersurface wall (a physically dynamic wall structure)(6). The design of One Main Street offers an aesthetic customised fabrication of a space digitally created and cut from using a sustainable and carbon-absorbing raw material; which is translated efficiently into refined and functional elements via dexterous low-energy digital tooling (7). This highly efficient way of designing allows digital design to be fur ther promoted as a future resource by exampling the benefits of eco-friendly solutions as well as low embodied energy methods.
FIG.8 WOODEN FURNITURE IN DESIGN
Fur thermore the space not only consisted of ply wood design in the walls, roof and floor but also in the furniture and accessories apar t from windows. All the designs are produced from a 3D numeric command milling machine that adds to ergonomic function and comfor t based from computer design (8). This digital and milling process creates almost no waste in timber offcuts and amazingly built the project in as little as 1200 planks (9). The vents between the wood allow for continuous air flow for the office work space, while also par tially covering up the building ser vices. This example shows a small but ver y impressive step towards future design and possibilities.
FIG.9 RECEPTION AREA OF OFFICE- NOTE ROOF
9
CONCEPTUALISATION
One Main Street Mark Goulthorpe, dECOi Architects 2010
FIG.10 WINDOW MATERIAL & COLUMN DESIGN
CONCEPTUALISATION 10
11
CONCEPTUALISATION
A2.0 Design Computation A2.1 Discussion Design
has been a continually adapting process to over-come problems and to provide the most efficient solutions to the requirements of a brief or client. This process, as out lined by Kalay in Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design, was a style that was first relevant for the occupation of an architect in the 1400s where-by efficient problem solving, analysing, synthesising, evaluation and communication was need to design a strategy that provided the most effective solution (10). Today this design process now has not only the coordination of architects but also tools to aid architects, engineers, designers and other involved disciplines to reach dynamic solutions in a more sustainable and reliable process. Design computation is becoming a major asset towards design by redefining a new form of design logic through approaches such as parametric designing, which allows a variation of outcomes to be created depending on pre-developed values of geometric relations (11). This allows designers to create a variety of solutions from one vir tual design, therefor allowing greater capabilities in scales, elements, materials and structure, in a more creative ethic. Computing for design has also allowed for designers more recently (last 30 years) to be capable in creating biological forms as well as fractal design concepts, which was of great interest for leading designers such as Louis Sullivan and Frank Lloyd Wright (12). Computation design can expand and explore, what were then, un-creatable geometries such as morphological simulations.
More recently, in the early 2000s, computational design allowed fur ther styles to be born. Many European and Asian design and research companies explored the effor ts of computational geometr y which lead to the creation of design environments in which form is driven by performance (13). This process was done through the ability to model and research into material systems and structural design that created greater results toward sustainable design solutions. Computation can be the solution towards future designing to overcome the problems, from project brief specifications to globally effected problems (global warming). The tools computers offer for designing can create greater understanding for multiple involved disciplines through the innovations of BIM soft wear by creating a vir tual product that can be understood and added to by all (14).
Digital materiality created within computer design also contributes to evidence and performance based designing methods by allowing new vir tual materials to not only be applied but also researched and tested on in a digital design. Fur thermore, vir tual designing has allowed greater efficiency for the design to go from the concept stage though to the built stage by application and fabrication technologies (15).
Provided are two examples that explore some of the many possibilities of computational design.
CONCEPTUALISATION 12
A2.2 Precedent Project 1 Prior
to the computational design era, structure and architectural form were considered separately. The initial design process was not always fulfilled and often compromised. In Toyo Ito’s Serpentine Pavilion, the design of the building was considered from all aspects (engineering, designing, building, occupancy) with the aid of computational design. This was achieved by both Toyo Ito (architect) and Cecil Balmond (structural engineer) when they coined the idea of creating a pavilion that does not por tray traditional structural methods. Instead the pair chose to integrate the structure into the design aesthetic by geometric re-configurations of a square that was algorithmically repeated and offset continuously (16). The result provided both a pleasing design and an approved structural form. Not only this, but the design also uses the algorithmic structure to create a more organic and creative design rather than a harsh and heavy square look (17). The material elements of sporadic glass windows help to focus more on the natural aspects and surroundings in the building and help to provide context for the pavilion and its location in nature.
FIG.12 INTERNAL OF PAVILION, VIEW TO NATURE 13
CONCEPTUALISATION
FIG.11 DESIGN PROCESS, SQUARE REPEATED
Serpentine Pavilion Toyo Ito & Cecil Balmond 2002
FIG.13 DESIGN PROCESS APPLICATION
FIG.14 SURPENTINE PAVILION
FIG.15 PAVILION, NO DIRCET COLUMN VISABLE CONCEPTUALISATION 14
Gantenbein Vineyard Gramazio & Kohler of Bearth & Deplazes Architekten 2006
FIG.16 INTERNAL VIEW, SHOWING DAPELLED LIGHT
FIG.18 EXTRENAL, NOTE WINE GRAPES ON WALL
15
CONCEPTUALISATION
FIG.17 BRICK STACKING FROM COMPUTATION
FIG.19 DIGITAL DESIGN SIMULATION
A2.3 Precedent Project 2
A
second example is shown in a more conser ved project, hidden up in the mountains of Switzerland. Designed by architects Gramazio & Kohler of Bear th & Deplazes Architekten, the Gantenbein Vineyard design takes a fur ther step than the previous example by applying the design to not only through digital computation but also fabrication technology. The original brief created was to design a wine fermentation room for processing grapes as well as storage and tasting. The specifications of these requirements meant that there was more consideration need towards not only sheltering the wine and those tasting, but also to allow precise treatment of the wine to the natural elements (18). With this in mind the design was digitally created to replicate a basket that, through digital simulation of gravitational effects, por trayed the look of various sized grapes falling into a basket (19). The digital computation that created this theme had also worked out the angles on which to place each individual brick (20,000 in total) so as to allow precise dappled sunlight and required amounts of air flow into the building. Once simulated the computational design was scripted into robotic fabrication lab at ETH Zürich were a robotic brick layer would place each brick precisely in the correct position, the design was considered to be too impossible and/or expensive to do via manual labour (20). The end result created a ver y rare brick design that shows and works perfectly in terms of aesthetics, building requirements, costs and timeframe and provides a look of natural contexts through the ‘basket look’. This design shows how computational design can explore and solve design problems from initial concepts and building requirements through to fabrication and natural aesthetic.
FIG.20 INTERNAL DESIGN LAYOUT, NOTE EACH BRICK ANGLE DIFFERENCE
CONCEPTUALISATION 16
17
CONCEPTUALISATION
A3.0
Composition/ Generation
A3.1 Discussion The
shift from composition to generation is a necessar y shift that all designers must adopt. If a designer is not up-to-date (broadly) then they will not be able to systematically interact with resources, other designers (engineers) or be able to produce the trending designs of the modern times. Digital design was first brought into architecture in the 1980s through Computer Aided Design (CAD) (21). From there generational design has brought in capabilities such as parametric modelling, algorithmic design, 3D printing and fabrication technologies and much more. The capabilities of parametric design emerged fur ther in the late 199000s where the logic of parametric design was in the values of parameters between different forms, allowing the boundaries to be variable (22) From this growing shift of digital design, architectural focus was towards “procedural design and scripting and away from compositional and representational theorizing” (23), which gave many benefits to design researching.
The shift towards the new age of design has had many positive adoptions and critical judgments over its lifetime. Originally, and like most things related to technology, it took time for the industr y to completely accept digital generation as the way of design, however even still today there are architects who don’t use computer design, such as Santiago Calatrava and Herman Her tzberger (24) as well as a few I personally know. At the star t of the digital era architects such as these often questioned if CAD actually limits the design oppor tunity and dulls it down to a well-documented but non creative design (25). CAD has been suggested, even recently to have a restraint to a designer’s imagination through rationalistic determinism and quantitative design (26).
By the time that computers were actually affordable to have a personal computer (PC) there was a wider variety of digital design tools available to architects. Although the question of whether these tools added or subtracted to the creativity of designers was still a question being asked, it allowed a connection between a rivalled engineer and architect to work collaboratively using parametric models rather than having to create one (through a back and forward process) known as Building Information and Modelling (BIM) (27). Fur thermore digital design has led to allow designers to do much more than just creativity; designers are now able to experiment with materials, environments and structural techniques to simulate the response to a question or problem, thus forming ‘computation’ (28).
CONCEPTUALISATION 18
A3.2 Precedent Project 1
FIG.21 FISH FROM FRANK GEHRY
FIG.22 MATERIAL OF PERFORATED STEEL
19
CONCEPTUALISATION
Barcelona Fish Frank Gehry 1992 Frank Gehr y’s
Barcelona fish is an iconic landmark in Barcelona’s seafront, built for the 1992 Olympic games. Made out of a perforated, gold tinted stainless steel form, it is one of Gehr y’s most favoured designs throughout his carrier (29). It is also one of his first designs that was created though use of computer design and fabrication, when the digital world was star ting to have an influence on early designers (30). Through his firm’s research they were able to create the design through computer aided three-dimensional interactive application (CATIA) and then process the fabrication straight out of the 3D model (31). This is a great example of one of the first designs to ever undergo a complete digital process and was thereafter seen as an iconic inspiration towards the potential creativity within the generational process.
FIG.23 DIGITAL DESIGN AND FABRICATION PROCESS
CONCEPTUALISATION 20
A3.3 Precedent Project 2
The
absolute towers are a recently completed project by MAD architects in 2012 that is a residential twin tower skyscraper complex. Recently it has won the best tall building Americas award 2012. The design of the towers is an algorithmic repetition of oval shapes that are offset at cer tain degrees continuously so as to allow all residents a different view of the city (32). The design was heavily controversial in terms of it structural performance however with the help of engineering and digital technologies and simulation the design was approved for the city and was such a success that the designers built a second one that runs parallel to the original tower, however has slight differences in terms of materials, rotation and height (33). These towers show an example of how the digital design today can be used to take creativity and structural performance fur ther beyond what has previously been done, giving great confidence towards this shift from composition to generation.
FIG.24 ABSOLUTE TOWERS CREATED IN GRASSHOPPER
FIG.25 EACH OVAL FLOOR OFFSET & REPEATED 21
CONCEPTUALISATION
The Absolute Towers MAD Architects 2012
FIG.26 THE ABSOLUTE TOWERS
FIG.27 COMPUTATION PROCESS TO ACHIVE DESIGN CONCEPTUALISATION 22
A4.0 Conclusion
People
often think of architects as the person that adds the creative detail to a building, which is by all means true, however not limited to. An architect is a person who must understand the principal functions of a building whilst integrating a form that creatively suits, in other words create the function over the form. An architect must also do this whilst understanding the boundaries of the client’s needs and costs, whilst thinking about the materials, the ergonomic layout and the environment in which the building is set. An architect must think and work with others to solve issues of structure and building associated compliance standards. They should aim to create an example for the future to step forward in terms of sustainability and wellbeing in design. They should evoke creative stimulation with design. Design computation is an invaluable resource that helps provide all of these answers in some way. Through the research shown it is clear that parametric designing can lead to new ideas of creativity; algorithmic modelling and scripting can produce quick and cost saving outputs to fabrication methods or environmental problems. Over the last few decades’ digital design has influenced many designers into a new style of creativity, although controversial at first it is clear that the digital design capabilities allow the greater role of the architect to be at its full potential. All of these tools are not a step back but a step forward into the new age of design and possibly the new architect.
23
CONCEPTUALISATION
A5.0
Learning Outcomes
The
knowledge gained from the past few research topics has given me a concise introduction to the world of computation. I believe that this design style is a completely new way of thinking and creating to that of traditional methods, which is ver y promising aspect that design could lead towards. Previously I wouldn’t have known much, if any, of the terminology and practical skills that we have covered recently and I feel with fur ther exploring and knowledge the topic will star t to make more sense. I would have enjoyed applying the skills and knowledge gained into my previous works, par ticularly the studies and studio modelling classes focusing on Toy Ito and Kazuyo Sejima, because of their focus and appreciation towards algorithmic design and computational methods.
CONCEPTUALISATION 24
A6.0 Appendix
Over
the past few weeks learning this brand new program of grasshopper has been ver y heavey and intense with wrapping your head around the basic functions. I feel after a few weeks I have a beginers understanding of the interface and tools, however I am ver y much still learning exactly what all the tools mean and do. I am ver y much looking forward to exploring the options in grasshopper for my design and keen to see the result. The binging works I have completed in my sketchbook have helped me to understand the basic creations used to make forms in grasshopper, which I can see how it might relate to some of the precedent projects that have been studied in this journal. It is clearer how materials can be formulated or how structrual desgins can be made to be applied to a building or researched fur ther through simulation. My examples shown, I think show my varetiy of what I have learnt ofver the last few weeks
Week 1
25
CONCEPTUALISATION
Week 2
Week 3
CONCEPTUALISATION 26
References - Text
(1) Tony Fry, Design Futuring: Sustainability, Ethics and new practice (New York, Berg, 2009), P. 4 (2) Ibid, P. 12 (3) Rodolphe el- Khoury and Andrew Payne, States of Architecture in the twenty-first century (UK, Thames & Hudson Ltd, 2010), p.51 (4) Architype, Spanish pavilion (Unknown location, Architype, 2015) <http:// architype.org/project/spanish-pavilion/?issue_id=684#> [accessed on 8 March] (5) Vania, Braided marble by Benedetta Tagliabue and Decormarmi fo Marmomacc (Unknown location, Interior line, Sept 2014) < http://interiorzine.com/2014/09/25/braidedmarble-by-benedetta-tagliabue-and-decormarmi-for-marmomacc/> [accessed on 8 March] (6) Eric Markowsky, Rethinking Architecture (Massachusetts, MIT, July 2014) <http:// newsoffice.mit.edu/2014/re-thinking-architecture> [accessed on 8 March] (7) dECOi Architects, One Main Street, dECOi Architects (2008-09) http://tomorrowawards. com/uploads_showcase_document/1347/1600.pdf [acessed on 10 March] (p.3). (8) Ibid, P. 4 (9) Ibid, P. 34 (10) Kalay Yehuda, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p6 (11) Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.3 (12) AIACC, Parametric Design: A brief history (California, AIACC.org, 2012) <http:// www.aiacc.org/2012/06/25/parametric-design-a-brief-history/> [accessed on 10 March] (13) Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.4
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CONCEPTUALISATION
References - Text
(14) Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design (UK, John Wiley & Sons, 2013) 83, 2, pp. 08-15 (p.14). (15) Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.5 (16) Giles Worsley, Opening up a box of delights (UK, The Telegraph, 2002) <http://www.telegraph.co.uk/culture/art/3580220/Openingup-a-box-of-delights.html> [accessed on 11 March] (17) Balmond/studio, Serpentine Pavilion 2002 (UK, BAlmond/Studio, 2002) <http:// www.balmondstudio.com/work/serpentine-pavilion-2002/> [accessed on 17 March] (18) Gramazio Kohler Architects, Gantenbein Vineyard Facade, Fläsch, Switzerland, 2006 Non-Standardised Brick Façade (Zurich, Gramazio Kohler Architects, year unknown) <http://www.gramaziokohler.com/web/e/bauten/52.html> [accessed 18 March] (19) Gramazio Kohler Architects, Gantenbein winery by Gramazio & Kohler Architects (Zurich, Gramazio Kohler Architects 2009) <http://travelwithfrankgehry.blogspot.com. au/2009/05/gantenbein-winery-by-gramazio-kohler.html> [accessed 18 March] (20) Ibid 21- Daniel Davis, A history of Parametric (New York, Daniel Davis, 2013) <http:// www.danieldavis.com/a-history-of-parametric/> [accessed on 19 March] 22- Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.3 23- Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.4
CONCEPTUALISATION 28
References - Text
24 Bryan Lawson, CAD and Creativity: Does the computer really help? (England, White Rose University, 2002) <http://eprints.whiterose. ac.uk/1427/1/lawson.b1.pdf> [accessed on 19 March] p.327 25- Bryan Lawson, CAD and Creativity: Does the computer really help? (England, White Rose University, 2002) <http://eprints.whiterose. ac.uk/1427/1/lawson.b1.pdf> [accessed on 19 March] p.329 26- Kostas Terzidis, Algorithmic Architecture (UK Elseiver, 2006) p. 28 27 - Daniel Davis, A history of Parametric (New York, Daniel Davis, 2013) <http:// www.danieldavis.com/a-history-of-parametric/> [accessed on 19 March] 28 - Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design (UK, John Wiley & Sons, 2013) 83, 2, pp. 08-15 (p.1) 29- Barcelona Low down, Frank Gehry’s golden fish sculpture (Barcelona, , Barcelona low done, 2014) <http://www.barcelonalowdown.com/ frank-gehrys-golden-fish-sculpture/> [accessed on 19 March] 30- Mimoa, Fish - Gehry Partners (Barcelona, MI_moa 2015) <http://www. mimoa.eu/projects/Spain/Barcelona/Fish> [accessed on 19 March] 31 - Ibid 32- Mathew Allen, An empathetic twist (Mississauga, Domus, 2012) <http://www. domusweb.it/en/architecture/2012/11/07/an-empathetic-twist.html> [accessed on 19 March] 33- Bas Lagendijk, Anthony Pignetti and Sergo Vacilotto, Absolute world towers, Mississauga (Mississauga, CTBUH, 2012) <http://www.ctbuh.org/LinkClick.as px?fileticket=C7pQ9leoTCc%3d&tabid=3840&language=en-US> p.14- 15
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CONCEPTUALISATION
References - Images
Fig.1. Christopher Dunkley, Personal image reference Fig.2. Christopher Dunkley, Personal image reference Fig.3. Christopher Dunkley, Personal image reference Fig.4. Zhonghai Shen / KDE, Spanish Pavilion, 2010, <http://architype. org/project/spanish-pavilion/?issue_id=684> [accessed 8 March] Fig.5. Aguirre Bujedo I単igo, Shanghai Expo, 2010, <http://www.dezeen.com/2010/04/26/ spanish-pavilion-at-shanghai-expo-2010-by-embt/> [accessed 8 March] Fig.6. Vania, Interior view Spanish pavilion, 2010, <http://interiorzine. com/2014/09/25/braided-marble-by-benedetta-tagliabue-anddecormarmi-for-marmomacc/> [accessed 8 March] Fig.7. Design boom, Spanish Pavilion, 2010, <http://www.designboom.com/design/ benedetta-tagliabue-rattan-tina-chair-for-expormim/> [accessed 8 March] Fig.8. Crespin Raphael, Reception desk, 2010, < http://archinect.com/ raphaelcrespin/project/one-main-decoi-architects > [accessed 8 March] Fig.9. Unknown, Office reception, 2010, <http://radlabinc. com/projects/one-main> [accessed 8 March] Fig.10. Crespin Raphael, One main, 2010, <http://archinect.com/ raphaelcrespin/project/one-main-decoi-architects> [accessed 8 March] Fig.11. Balmond Cecil, Design process, 2013, <http://www.thearchitect.lk/2010/07/ creating-new-horizons-in-architecture-cecil-balmond/> [accessed 10 March] Fig.12. Deleu Sylvain, Serpentine Gallery Pavilion, 2002, <http:// www.archdaily.com/344319/serpentine-gallery-pavilion-2002toyo-ito-cecil-balmond-arup/> [accessed 10 March] Fig.13. Nataliealima, deep surface diagram explode, 2013, <http://www.iaacblog.com/ maa2013-2014-advanced-architecture-concepts/2013/11/toyo-ito/> [accessed 10 March] Fig.14. Balmond Studio, Serpentine Pavilion, 2002, <http://www.archello. com/en/project/serpentine-pavilion-2002#> [accessed 10 March]
CONCEPTUALISATION 30
References - Images
Fig.15. Unknown, Serpentine Gallery Pavilion, 2002, <http://openbuildings.com/ buildings/serpentine-gallery-pavilion-2002-profile-45080> [accessed 10 March] Fig.16. Degn Andreas, Gantenbein Vineyard Façade, 2015, <https://www. pinterest.com/pin/325385141803751163/> [accessed 11 March] Fig.17. Gramazio & Kohler, baustelleohnegerust_DK_006, unknown, < http://www. archdaily.com/260612/winery-gantenbein-gramazio-kohler-bearth-deplazes-architekte n/501f4a8228ba0d0242000059_winery-gantenbein-gramazio-kohler-bearth-deplazesarchitekten_080701_036_innenaufnahmen_ralphfeiner_02_pr-jpg/ > [accessed 11 March] Fig.18. Gramazio & Kohler, Winery_010, 2009, http://travelwithfrankgehry.blogspot.com. au/2009/05/gantenbein-winery-by-gramazio-kohler.html [accessed 11 March] Fig.19. Gramazio & Kohler, Winery_014, 2009, http://travelwithfrankgehry.blogspot.com. au/2009/05/gantenbein-winery-by-gramazio-kohler.html [accessed 11 March] Fig.20. Gramazio & Kohler, Winery_011, 2009, http://travelwithfrankgehry.blogspot.com. au/2009/05/gantenbein-winery-by-gramazio-kohler.html [accessed 11 March] Fig.21. Shayan, The Frank Gehry fish and the Barcelona grand casino, Unknown, http:// www.everystockphoto.com/photo.php?imageId=2768227 [accessed 19 March] Fig.22. Unknown, Frank Gehry’s Fish, 2012, <http://been-seen.com/ travel-blog/animal-houses> [accessed 19 March] Fig.23. Mafana, Computer and built models for Gehry´s fish sculpture 1992 Barcelona, 1992, <https://mafana.wordpress.com/page/2/> [accessed 19 March] Fig.24. Lee Sid, Absolute tower, 2011, < http://www.grasshopper3d.com/ photo/absolute-tower-1?xg_source=activity> [accessed 19 March] Fig.25. Baan Iwan, Absolute towers, 2012, < http://www.archdaily.com/306566/ absolute-towers-mad-architects/50c8c96db3fc4b7062000009_absolute-towers-madarchitects_absolute_mad_1001_by_iwan_baan-jpg/> [accessed 19 March] Fig.26. Arban Tom & Lum Morris, Absolute towers, 2012, <http://www.domusweb.it/ en/architecture/2012/11/07/an-empathetic-twist.html> [accessed 19 March] Fig.27. Arban Tom, 306569, 2012, <http://www.archdaily.com/306566/ absolute-towers-mad-architects/> [accessed 19 March]
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CONCEPTUALISATION 32
Part B - Criteria Design
New FormFinding Methods_ Experiment 2.0 - AA 2011
Minimal Surface Pavilion Interdiscplinar y team 2011 33
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Khan Shatyr Enter tainment Center - Foster + Par tners 2010
B1.0 Research Field Geometry
Geometrical
form is a process that has been described with architecture for centuries, however it is only recently that researchers and designers have been able to algorithmically pull apar t the parameters defining geometric form. Per vious to computational methods, humans often associated geometr y and form via words, gestures or detailed two-dimensional drawings (1). Today designers have the tools to explore the intrinsic proper ties of three-dimensional objects through understanding the definitions that form the parameters of the shape, structure and eventually the materials or principals of the design.
Minimal Surface Fur thering from the idea of geometr y as a holistic topic, more specifically geometric form can have influences upon the material applications and surface structure. With this in mind it is beneficial to explore the outcomes of minimal surfaces within the design. Minimal surfaces are considered to be surfaces that span across a given set of points or cur vatures that form a result that applies the least amount of energy across that surface whilst still connecting to its original parameters (2). This provides benefits of design by exploring the possibilities of light weight design (as seen in B.3) or design solutions towards material performance and fabrication as well as allowing structural creativity.
Tension | Relaxation | Pneumatic structure Tension structure and relaxed form are techniques fur ther specified as a type of geometr y. They incorporate the use of components or anchors acting to hold the structure in tension rather than construction methods relating to ideas of compression (3). With the use both minimal surface intentions and structural proper ties of tensions or relaxations; I hope to achieve an outcome that benefits the site of Merri Creek with a connecting and sustainable design.
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B1.1 Precedent Project 1
Serpentine Sockler Gallery Zaha Hadid 2013 1 -
Tentlike poles
that allow light in.
The
Serpentine Sockler Galler y is a successful architectural project that combines the old and the new. Hadid's 21st centur y design is one of two par ts of the design, the other being a classical 19th centur y brick design, The new addition to the building is one the designers first permanent tensile structures that uses computational methods to create a tension sheltered, open space for a restaurant (4).
2 -
Extrenal view,
showing the cur ve form
The design encompasses the use of central tentlike columns that protrude to the roof surface structure, giving the surface a tensioned result whilst also providing a light well into the usable space. The design has an air y, light atmosphere about it due to this construction method as well as the use of glass fibre materials to create the tensioned roof surface membrane (5) of which forms an intention towards minimal surface design evident in the resulting form. This example shows how computational design, par ticularly focusing on tensile principals can create a project that is not only a temporar y or lightweight/ transpor table design but also a solid and permanent solution and can still inform the benefits of tensile form finding.
3 -
Light polls
hold tensile sur face
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B1.2 Precedent Project 3
We Stopped Here Just at the Time Ernesto Neto 2002 Another
interesting project that explores the use of minimal surface and tension is an ar t work by Brazilian ar tist Eresto Neto. This design is created from Lycra tulle netting which is then typically suspended and weighed down to give more 3-dimentaional volume (6).
4 -
Herbs weighing down the structure
His ar t also takes a step fur ther by allowing people to do more than just look at the work, by allowing people to touch and even climb onto the structure. As well as this, he weighs the ar t works down with small bags of herbs and spices to let the viewer use more of their senses and smell the ar t before they see it (7). Using the minimal surface and tension design, this ar t work shows some of the creative outcomes that can appear from computational methods. Unlike the previous projects it is also interesting to note the different materials used here. This design shows great potential for the adaptability of these geometric fields.
5 -
Overall
design in space
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B2.0 Case Study 1.0 Geometry Relaxation | Minimal Surface Green Void | LAVA 2008 Created
closer to home is the design of the Green void in the central atrium of Customs House in Sydney. The design is suspended to a height of 20 meters and covers 5 levels within the heritage building (8). The design is focused on exploring the use of minimal surfaces with the application of light weight Lycra material that totals to a weight of only 40kg (9). Using more from less in this way, the design applies a natural formation created unexplicitly through the result of computational explorations with basic geometr y that has under gone simulations of relaxations to create a mesh surface as seen in the result of the design.
Own compuational work - Green void
This project is a fur ther exploration of the famous Munich Olympic Stadium by Frei Otto 1972, where the roofing was first experimented to create a tensile structure (10). This design takes these ideas to the next level in computational design through physics simulation programs in Grasshopper. Sustainability wise, this example shows how effective the minimal, light weight, relaxed surface can become an effective solution towards lowered fabrication processes and the use of recycled material. This example shows impor tant characteristics that would be beneficial towards the future design, through minimal surface design and tensions that create similar benefits as shown.
6 -
The Green Void by
L AVA in atrium space CRITERIA DESIGN
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B2.1 Design Experimentation Geometry Green Void - Lava Species 1 Iteration Species 1 - Process of changing the population of anchor points and mesh complexity
1
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Species 2 Iteration
Species 2 - Different geometries and mesh thickening (exoskeleton)
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B2.1 Design Experimentation Geometry Green Void - Lava Species 3 Iteration 5
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Species 3 - Redefined anchorpoints from kangaroo physics.
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Species 4 Iteration 1
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Species 4 - Redefined anchor-points exploring the addition of weaverbird & exoskeleton components for mesh surface possibilities.
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B2.2 Design Iterations
Species 1.3
Species 3.3
Through
the developing exploration of the Green void, several species with sub-iterations were explored and studied. From the examinations 4 overall iterations show the methods used that could possibly be employed in future designs for the given site. Iteration 1.3 shows the possible outcomes of random populated points to create different geometrical forms. Iteration 2.7 shows a result form applying different cur vatures that can be simulated to give different results towards the stiffness and mesh pattern. Iteration 3.3 explored the effects of Kangaroo Physics through simulation processes and redefined anchor points. The final iteration 4.9 took a step fur ther with the Kangaroo components by also incorporating the use of material fabrication possibilities with weaverbird and exoskeleton components added to create different mesh methods that react depending on the joint complexity.
Species 2.7
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Species 4.9
B3.0 Case Study 2.0
Munich Olympic Stadium Frei Otto 1972 The
Munich Olympic stadium, created by one of the most prestigious architects that is renowned for early experimentation with tensile and minimal surfaces. The stadium's roof design is formed from a total of nine 'saddle' shaped nets spaced in a square grid that cover most of the seating areas in the stadium. These surfaces are tensioned via steel anchors that are placed strategically around the surface to anchor them down to a tensile and minimal surface form (11). From this design method the roof results in a lightweight minimal surface design that is tested to provide adequate structural efficiency so that pressure to the surface, such as wind can be minimal. Fur thering from this, the design also considers more specific environmental aspects to the site such as rain and snow. These elements can have a huge effect upon tensile structures and often lead to their failure.
7 -
Roof of the Munich Oylmpic Stadium by Frei Otto
8 -
Roof membrane showing cur ves
This leading example of tensile and minimal surface design shows the optimisation that can be achieved through these par ticular fields of design. Although this design was not computationally design it stands as an achieved example for designers to take the principals that guide this project fur ther through computational experimenting.
from tensile material & anchors CRITERIA DESIGN
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B3.1 Case Study 2.0 Reverse Engineering
Step 1
Step 5
Step 2 Step 6
Step 3 Step 7
Step 4
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From
this exploration it was useful to understand the requirements of Kangaroo physics, from which it is possible to test the dynamics of mesh membranes in a relaxed and tensioned form. I hope to fur ther push this introduction of the definition towards a proposal that encompasses the complete creativity of both minimal surfaces and tensile structures with the collaboration of gravitational effects and/ or different material results.
Step 1 - To process the design strategy of the Munich stadium I firstly decided on a basic geometr y that could represent the non-relaxed form of the perimeter of the roof. For this I chose a rectangle. Step 2 - Create a mesh surface from the joined cur ves. Step 3 - Then, once referenced in Grasshopper the location of the anchor points are set around the outline form for which to apply in grasshopper.
9 -
Step 4 - Add a unar y gravitational force to the definition so that when simulated the surface is effected in a +Z direction. Step 5 - Once set at an acceptable level, the central anchor points from the divided mesh can be baked into Rhino and set as the ver tical anchor points of the design. Step 6 - Apply a -Z force and run the physics simulation so that the mesh surface relaxes thus giving the resulting form.
Roof of the Munich Oylmpic Stadium by Frei Otto CRITERIA DESIGN
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B4.0 Technique | Development Munich Olympic Stadium 1
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B4.0 Technique | Development Munich Olympic Stadium 30
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B4.1 Technique | Discussion
Throughout
the iterations I explored the possibilities of different 2D and later 3D volumes from a basic mesh surface. Experimenting was used with the definitions that focused on different effects of unar y forces, mesh structures and open and closed frames to explore the potential volumes in and around the given form. This was intended to see how adaptable the form could come to within different contexts.
Design iteration Iteration 7 was intended to explore the geometrical forms specific to 2D shapes. The design was intended to show a stretched connection between all the separate surfaces. However I felt that this lacked depth and could be taken fur ther.
Design iteration Iteration 24 represents the attempts of conver ting more 3D depth into the design and also exploring different mesh structures to see how they act differently when relaxed. From this generally a triangulated mesh structure worked best, which was noted.
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B4.2 Technique | Selection Criteria
Below
are some of the successful outcomes that were achieved from the iterations. They show the potential of adaptability for different contexts and environments as well as potential for 3d form. These outcomes show the direction of the experimentation that I hoped to achieve with the consideration of my design intent and criteria. Through the benefits of minimal surface design and tension, I hope to create an outcome that has minimal effect upon the environment it is in (lightweight) as well as conser ve embodied energy levels. These iterations have helped to define how this could be done.
Design iteration Iteration 20 intended to explore other, creative ways of looking at how the design can be adaptable. With this in mind I choose to explore more into rounded or cur ved outcomes as I figured they would be more suited for this type of effect.
Design iteration The final iteration (50) has taken on board what I had exploded through the previous outcomes and also looked at the possibilities of multiple closed and open frame geometries.
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B5.0 Technique | Prototypes
1
2
Prototype Design 1 -
3
This first prototype was an experiment to study the full effect of how minimal surfaces react in the physical world. Soap bubbles are a perfect display for showing how a minimal surface form will look from a given perimeter base shape (circle, triangle, cube etc). This process was ver y interesting as unexpected outcomes also always would form for ever y shape, however it proved to be hard to document the outcomes via pictures due to the transparency of the soap film.
4
5
Prototype Design 2 -
6
The second prototype explores the some of the effects of tension using a mesh hexagonal grid attached to a triangular base frame. Due to the lack of elasticity in the material the result was minimal however it is possible to see the tension areas closer to the boundar y of the frame (in image 6). Below also shows a series of photos showing how the shape of the material changes under tension.
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CRITERIA DESIGN
8
9
10
11
12
Prototype Design 3 -
13
The third prototype uses spandex that has a clean single face surface. In this model, the material has been stretched to prebuilt anchor-points that give the effect similar to Frei Otto's stadium with the 'saddle' like cur ves that find the minimal surface. This experiment also showed slight imperfections on the material due to not all of the face being in tension and therefore creating creases in the centre.
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Below also is a series of photos showing how this material is adabtable and changes as the anchor-points are tensioned.
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19 All images were self produced CRITERIA DESIGN
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B6.0 Technique | Proposal Site Context Merri
Creek is both an environmental and recreation corridor that provides for local communities, fauna and flora wildlife and acts as a green patch corridor for ever yday commuters (12). The site is often utilised as an ideal walking or cycling track and consists of many community playgrounds and group effor ts, such as wishing trees, manmade wetlands, aboriginal ar t works and various viewing platforms and BBQ areas.
From
both the obser vation and research upon the site, it is clear that Merri Creek and the surrounding areas have a clear intention towards growing the natural beauty of the site whilst it is situated within the heavy urban areas of Melbourne. Continuous community and local councils are raising money towards fur ther planning for a creative and natural corridor from which both humans and wildlife can access and enjoy (13). Many areas along the walking track had been tended to by small working par ties which had aimed to create the site into a more interactive and enjoyable area, such as wishing trees, the aboriginal labyrinth various seating areas and community gardens. As stated the area is often used as beneficial pathway or connection for many cyclists and walkers going to and from the train station, city or home. This is an obvious alternative as the corridor provides an easy and enjoyable route home away from traffic and the typical urban setting. It was obser ved that many groups actively use the playgrounds, fields and community gardens. These areas, as well as the cycle path were locations for which the most human activity was happening within the natural area.
Community areas
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Playground
Merri Creek
Areas close to the site
The Site- Bridge crossing
Bike path
Community developments All images were self produced CRITERIA DESIGN
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B6.1 Initial Design Proposal
From
the obser vations and potentials of the site and in response to the brief, my design is to incorporate an illuminated design that is placed amongst the tree tops overlooking the river at one of the main river crossings. This area I feel reflects one of the major intersecting points along the site for commuters, local community members utilising the park area just up from the bank and also where I believe there is the most natural beauty and elements visible (water, nature, wildlife, rock etc). The illuminated design would capture these existing elements that are obser ved here without creating a bold or detracting setting, but rather a more sustainable light weight structure. This design would allow both a practical and creative use to the site by illuminating the area for safety. The design intends to show the potential of tensioned and minimal surface designs in an aesthetic and interactive way by obser vation and touch (to an extent). By utilizing tension structure and minimal surfaces, an illuminating structure can have great benefit from this field by testing the different effects of light and shadow contrasts. And also allow projection of light via tensile surfaces. This geometr y field can easily explore the options of translucent materials or mesh structure that can illuminate ample amounts of light with giving a negative effect of light pollution in the natural area.
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Design location - Situated above the crossing within the trees. The design is a lightweight structure that can be placed at height and connect with the trees - connecting with nature. Allows an appreceated view of computational design amongst nature without giving a negative effect to the environment.
All images were self produced CRITERIA DESIGN
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B7.0 Learning Objectives and Outcomes Objective 1, From the development of comutational design within this project the giving us the fredom of a technical and creative design. The design the three major aspects within this design studio - the feild chosen computational development, the specific site that benefits most from what stakeholders would be interested in this design.
brief aimed at must consider to explore the this and who or
Objective 2, Understand that computational desgin can deliver endless amounts of possibllities that can all be dynamic and experimental to look at the optmium solution to the problem in the site. Objective 3, In order to be able to have a successfull outcome you need to be able to design, test, produce and explain a design to understand it pros and cons. This is a challenge in the studio as it gets us thinking about the 'whole' picutre of a design project Objective 4, Fur thering, the designing allows us to explore the construction both in the physical world and computer and learn how fabrication, joiner y and structure can work, or be effected.
Objective 5, From the development of Pt B so far and the presentation, I know that it is impor tant to have a sound understanding on the topic relating to your feild as well as to keep thinking about the porject and how fur ther developments can produce a more technically pleasing outcome.
Objective 6, From the develpoment of this stage, I feel that I have a much clearer (although not at all perfect) understanding of computational methods via researching on precedent projects and deconstructing them.
Objective 7, Again, I have a much better understanding but still learning. Objective 8.
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Through this process relating to my feild it is clear to see the potenials and setbacks of this design. CRITERIA DESIGN
B8.0 Appendix - Algorithmic Sketches
Attempted re-design of the Pompidou metz building, looking at the complexity of different topological surfaces, and then mesh structure tool used as a projection to a lofted surface.
Fur ther exploration into the Kangaroo physics component and how inflatable design can work, with pressure points
Attempted design of the starshell pavilion using grids applied onto a 3D surface
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B9.0 References - Text
1)
Unknown, Geometrical Structures- Pt 3 ( ) page 229
2) J.A Sethian, Minimal Surfaces and soap bubbles (University of California, Dept. of Mathematics Univ of California, 2010) < https://math.berkeley.edu/~sethian/2006/ Applications/MinimalSurfaces/minimal.html> [accessed on 4 April] 3) James Stevens Curl, Tensile Architecture (England, Oxford University Press, 2000) < http://www.encyclopedia.com/doc/1O1-Tensilearchitecture.html> [accessed on 4 April] 4) Archdaily, The Serpentine Sackler gallery/ Zaha Hadid Architects (Unknown, Archdaily, Oct 2013) < http://www.archdaily.com/433507/the-serpentine-sackler-gallery-zaha-hadid-architects/> [Accessed 6 April] 5) Arcspace, Serpentine Sackler gallery (Copenhagen, Arcspace.com, 2013) < http://www. arcspace.com/features/zaha-hadid-architects/serpentine-sackler-gallery/> [Accessed 6 April] 6) Perfume Polytech, Ernesto Neto’s Immersive, cross-sensory installations (Unknown place, Perfume Polytech- word press.com, March 2015) < https://perfumepolytechnic.wordpress. com/tag/ernesto-neto-we-stopped-here-just-at-the-time/> [Accessed 30 April] 7) Alex Kittle, Art: Ernesto Neto and the legacy of the Neo-concrete movement (Brazil, Alex Kittle, March 2014) < http://alexkittle.com/2014/03/25/art-ernesto-netoand-the-legacy-of-the-neo-concrete-movement/> [Accessed on 30 April] 8) Anuradha Chatterjee, Green Void (Sydney, Anuradha Chatterjee- Radar Exhibition, 2009) < http://www.sydneycustomshouse.com.au/news/documents/Gre enVoidArchitectureAustraliap25-MayJun09.pdf> [accessed on 7 April] 9) Ibid 10) Archdaily, Green Void/ LAVA (Australia, Archdaily, 2008) http://www. archdaily.com/10233/green-void-lava/ [Accessed on 7 April] 11) Tugraz Institute of Architecture, Olympic stadium (Austria, Tugraz, year unknown) < https://iam. tugraz.at/studio/w09/blog/wp-content/uploads/2009/11/OlympicStadium.pdf> [Accessed on 6 April] 12) Merri Creek Management Committee, About Merri Creek (Melbourne –Australia, Management Committee, unknown publish date) < http://www.mcmc.org.au/index.php?option=com_ content&view=article&id=36:about-merri-creek&Itemid=188> [Accessed on 29 April] 13) Simon D’ Alfonso, Friends of Merri Creek (Melbourne – Australia, Friends of Merri Creek, 2014) < http://www.friendsofmerricreek.org.au//pages/news.php> [Accessed on 29 April]
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B9.0 References - Images
Fig 1 Ed Reeve, Internal –Stockler gallery, 2013 < http://www.dezeen.com/2013/11/01/the-magazinerestaurant-at-the-serpentine-sackler-gallery-extension-by-zaha-hadid/> [Accessed on 6 April] Fig 2 Luke Hayes, External – Stockler gallery, 2013 < http://www.dezeen.com/2013/11/01/the-magazinerestaurant-at-the-serpentine-sackler-gallery-extension-by-zaha-hadid/> [Accessed on 6 April] Fig 3 - Luke Hayes, The new Serpentine Sackler Gallery: A modern classic takes shape, 2013 < http:// www.independent.co.uk/arts-entertainment/architecture/the-new-serpentine-sackler-gallery-amodern-classic-takes-shape-8837361.html?action=gallery&ino=2> [Accessed on 6 April] Fig 4 - Nicola Anthony, While nothing happens, 2008 < http://alexkittle.com/2014/03/25/arternesto-neto-and-the-legacy-of-the-neo-concrete-movement/> [Accessed on 30 April] Fig 5 - Yann Caradec, We stopped here at the time, 2002 < https://perfumepolytechnic.wordpress. com/tag/ernesto-neto-we-stopped-here-just-at-the-time/> [Accessed on 30 April] Fig 6 - Ali Hilal, Green void – LAVA, 2010 < http://www.architecturelist. com/2010/07/28/green-void-sydney-by-lava/> [Accessed on 7 April] Fig 7 - Wikimedia Commons, Munich Olympic Stadium, 2011 < http://www.archdaily.com/109136/ ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [Accessed on 6 April] Fig 8 - Wikimedia Commons, Stadium roof, 2011 < http://www.archdaily.com/109136/adclassics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [Accessed on 6 April] Fig 9 - Wikimedia Commons, Stadium roof, 2011 < http://www.archdaily.com/109136/adclassics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [Accessed on 6 April]
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