During the 1970s, Matta-Clark made the works for which he is best known: his "anarchitecture." These were temporary works created by sawing and carving sections out of buildings, most of which were scheduled to be destroyed. He documented these projects in photography and film. Although he made interventions into a former iron foundry in Genoa, Italy, in 1973, his first large-scale project has been defined as Splitting (1974). To create this work, Matta-Clark sawed two parallel slices through a nondescript wood-frame house in Englewood, New Jersey, and removed the material between the two cuts. In addition, he cut out the corners of the house's roof, which were subsequently shown at John Gibson Gallery in New York. He made similar gestures in some of his photographs, cutting the actual negatives rather than manipulating individual prints.

In Day's End (1975), the artist removed part of the floor and roof of a derelict pier in Manhattan, creating a "sun and water temple." After he worked undiscovered on the project for two months, the City of New York filed a lawsuit against him; it was eventually dropped. For the Biennale de Paris the same year, he made Conical Intersect by cutting a large cone-shaped hole through two seventeenth-century townhouses, which were to be knocked down to construct the then-controversial Centre Georges Pompidou. In 1976, Matta-Clark created his own controversy. Rather than participating in an exhibition alongside well-known architects as planned, he shot out the windows of the Institute of Architecture and Urban Studies in New York. This act has been interpreted as a protest against the architectural establishment. Interested in the inner workings underneath the visible, he filmed and photographed tunnels, sewers, and catacombs in New York and Paris in 1977, a project aided by a fellowship from the John Simon Guggenheim Memorial Foundation.

Collection Online | Gordon Matta-Clark - Guggenheim Museum (no date) Available at: http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/874 (Accessed: 25 April 2015)

Matta Clark’s work of creating voids inside buildings is the opposite to the concept of my project of filling spaces that exist. The angles and edges of his pieces are interesting particularly where the materials in front and behind are revealed. All his projects were created on buildings planned for demolition and I feel his pieces are a very unusual way of giving these ‘dead’ buildings a new form before they are destroyed!

Previously I had only been thinking of voids as the exterior space between two structures but I'm realising how the interior of structures could deb classed as voids. Interior voids and spaces that are purposely left empty by architects be it for impact when in the space or a specific way of altering the flow of people along with many other reasons.

Simply cut for a window/ source of light, or a new passage as needed feels like the idea of an adaptable space that can be altered.

In my design brief I talk about the aim of creating a social space – the idea of this adaptable space will be included in my design as I feel all social spaces are adapted by the users.

To recreate the works of both Rachel Whiteread and Gordon Matter Clark in one model i used balloons covering them in plaster. I felt that using one model for both emphasised the opposite nature of their separate techniques.

Having the balloons in the plaster there is the directly link where the plaster meets the balloon and forms around it whereas once the balloons are popped the void is created making the negative space.

A quick realisation shows how the balloons extruding from the plaster is a concept similar to parasite architecture where pods extrude from the wall. In the context of the street they are utilising the wasted space and providing a new purpose.