STUDIO AIR2014, Semer ter 2

Tony Lau

L au S i u Ya n

To n Y

3

I’m studying the Bachelor of Environment and major

in Architecture in the University of Melbourne. As

I’m a transferred students from Hong Kong, this

is my first time coming to Melbourne but studying

the final year of the course. To me, Melbourne, or

Australia, is a very different place from Hong Kong,

not only the change of extreme climate, but also the

culture difference. For the coming next year, there

are many challenges I have to confront, including

the difficulties of learning programming, heavy

load of reading, and also the communication and

presentation of the idea in English. Nevertheless,

studying Architecture and work within it is my major

dream and support that help me to overcome for

those challenges. In the past two years, i have

finished the course of Architectural Studies in City

University of Hong Kong. In that period, my life

is full with the studio design and the “deadline”

in order to finish total five studio projects in one

and a half year, whcih trained me as an effecient

and effective person to deal with the coming

issues and workloads. To me, Alvaro Siza is one

of my most famous achitects that inspires me the

aesthetic of purity with simple geometry and the

spactial idea of planning. Like Siza’s building, I’m

trying to achieving an simple and skillful geometric

design; pure and conceiable spatial planning;

audacious and precise drawings in my own designs.

D E S I G N S T U D I O : A I R

PART A. CONCEPTUALISATION

PART B. CRITERIA DESIGN

PART C. DETAILED DESIGN

BIBLIOGRAPHY

A0. Introduction

A1. Design Futuring

A2. Design Computation

A3. Composition/Generation

A4. Conclusion

A5. Learning outcomes

A6. APPENDIX - ALGORITHMIC SKETCHES

B1. Research Field

B2. Case Study 1.0

B3. Case Study 2.0

B4. Technique: Development

B5. Technique: Prototypes

B6. Technique: Proposal

B7. Learning Objectives and Outcomes

B8. APPENDIX - ALGORITHMIC SKETCHES

C1. Design Concept

C2. Tectonic Elements & Prototypes

C3. Final Detail Model

C4. Learning Objectives and Outcome

CONTENTS

5

D E S I G N S T U D I O : A I R

PROGRAMMING THE WORLDA I R

REFSHALEVEJ, C

OPENHAGEN, DENMARK

A1. DESIGN FUTURING

Nowadays, the place we are living in are becoming

much tougher than before, the polluted environment,

lack of natural resources, and the considerable sum of

human, these factors are making our life harder and reduce

the possibility of the future that can be sustained, which

means defuturing. How can we protect our future? How can a

future actually be secured by design? There are many ques-

tion and difficulties we have to confront, but I believe that our

future could be sustained or improved by ‘Design’.

The destruction of design

Against this backdrop, ‘design futuring’ has to confront two

tasks: slowing the rate of defuturing [….] and redirecting us

towards far more sustainable modes of planetary habitation. [1] With the help of technological advancement, there are a

growing mass of cheap computers and design software pro-

viding to the public that anyone can pretend as a ‘design-

er’ although they are only at junior level. Consequently, the

design products in many aspects have becoming commercial

and trivial things due to the movement of ‘design democracy’.

In this situation, design either goes on becoming trivialized,

technocratic, invisible and elemental to the unsustainable, or

it becomes a path-finding means to sustain action countering

the unsustainable while also creating far more viable futures. [2]

Stand up to fight for better environment

To overcome this situation, the writing and its ideas of Peter

Kropotkin, which has influenced many people, especially ar-

chitecture, landscape architecture and planning may provide

general answers to us. In Kropotkin’s writing, he wanted to re-

store the quality of the natural environment after the ravages

of industrial development; the production of far more durable

artefacts; a focus on the development of community; the

devolution of government; the overcoming of alienated labor

and the development of the practice of apprenticeships. [3] In

1930s, there is a New Deal project held by Tennessee Valley

Authority (TVA) that addressing the issue of ‘planning and the

people’. And after that, Julian Huxley develop the concept

further in order to recognize a fundamental and still abso-

lutely relevant point about democratic design and democ-

racy in general - good decisions require the people making

them to be critically informed. [4]

The responsibility of public

Much of what we know of institutions, the distribution of power,

social relations, cultural values, and everyday life is mediated

by the built environment. Thus, to make architecture is to con-

struct knowledge, to build vision. To make architecture is to

map the world in some way, to intervene, to signify: it is a po-

litical act. Architecture, then, as discourse, discipline, and form,

operates at the intersection of power, relations of production,

culture, and representation and is instrumental to the con-

struction of our identities and our differences, to shaping how

we know the world. [5] To take the diversity of humanity away

from deepening the disaster of unsustainability toward the

futuring character of sustain-ability, we should put forward of-

CONCEPTUALISATION

7

“to restore the quality of the natural en-vironment [...]; the production of far more durable artefacts; a focus on the devel-opment of community; the devolution of government, [...]

-- Peter Kropotkin

fers no vision of ‘a brave new world’ but

rather design as a ‘redirective practice’. [6] Therefore, the way to achieve it would

be let the design intelligence becoming

the essential skills of life to the public,

especially child, instead of putting the

narrow and reductive focus on specific

designer, like Patrik Schumacher. Everyone

should take the responsibility of design-

ing better environment to human.

Precedent study:

The first case study would be Centre

Pompidou-Metz, 2010

The second case study would be ‘Zooto-

pia’ In Denmark, In Progress.

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 62 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 73 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 84 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 85 Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), pp. 16 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 15

CONCEPTUALISATION

CENTRE POMPIDOU-METZMETZ, FRANCE, 2010

9

“EvEryonE usEd to want to bE star architEcts. that’s no longEr thE casE.

-- shigEru ban

CONCEPTUALISATION

In a very long time, the reason for

people who wanting to become an

architect is desiring for the honour of

creating amazing buildings without con-

sidering environmental or sustainable

matters. In the era of ‘Green world’, there

is no longer suitable for people who

carry these kind of thoughts. For better

future, the works of Japanese architect

Shigeru Ban has contributed the fun-

damental ideas for design futuring. Ban

is not interested in the newest materials

and techniques, but rather the expres-

sion of the concept behind his building.

Paper architecture

Ban is most famous now for his innova-

tive work with paper and cardboard

tubing as a material for building

construction, like the project of Centre

Pompidou-Metz. He is attracted to using

paper because it is low cost, recyclable,

low-tech and replaceable in Metz that

timber can be used as both a tensile

member and compressive member, I

thought it could be realized as a com-

pressive shell structure, in addition to

11

being a tensile mesh structure.

Ecological development

The last aspect of Ban’s influences is his

humanitarianism and his attraction to

ecological architecture. His work with

paper and other materials is heavily

based on its sustainability and because

it produces very little waste. Ban fits well

into the category of “Ecological Archi-

tects” but he also can make solid claims

for being modernist, a Japanese experi-

mentalist, as well as a rationalist.

CONCEPTUALISATION

BIG ENVISIONS ZOOTOPIAGIVSKUD, DENMARK, IN PROGRESS

13

“In order to create a more ImmersIve experIence for vIsItors, as well as provIde the anImals wIth a comfortable and more wIld envIronment, ‘zoo-topIa’ seeks to remove the physIcal partItIons and cages typIcally utIlIzed In zoos.

-- danIsh archItects bIg

CONCEPTUALISATION

Design Futuring is not only limited to

the building, but also means how

to design a better living envi-

ronment to human so as animals. In the

future, creating a better and well plan-

ning region for other living environment

is more important than before in order

to maintain the diversity of ecology. Also,

this is related to the concept of ‘design

futuring’ that could inform the idea that

provides an intriguing opportunity for

the creation of a space with “the best

possible and freest possible environment

for the animals’ lives and relationships

with each other and humans.”

To modify the traditional perspective

towards zoo which is money-making

machine, we have to rethink the inter-

action between visitors and animals

that educating the concept about the

relationship between mankind, animals

and environment so as to create an

ideal place for the future. Acting as

the inspiration of new idea of project

scheme, the project will attempt to

“integrate and hide buildings” within the

landscape and express the integration

of nature and natural elements into cut-

ting-edge, innovative architecture. The

complex’s building elements are inte-

grated with the landscape, to conceal

their appearance to the animals while

distinctly fitting to the individual species.

15

CONCEPTUALISATION

“

7 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 98 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 39 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 410 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 411 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 6

The straight line belongs to men, the curved one to God.

-- Antoni Gaudí i Cornet

17

Design Computation in architecture is undeniable that

have improved the productivity and creativity of

design, especially in material and engineering aspects.

In terms of the complexity of geometries, building forms and

structures, it is much more complex and efficiency when using

parametric computation instead of traditional thinking.

Possibility of conceivable geometries

Beyond 20th century, there is already some parametric works,

like the Hanging model of Sagrada Familia by Antoni Gaudí,

showing the possibility of parametric design in architecture

and its advantages. Due to the advantages that Drawings

and scale models allowed architects not only to communi cate

with the builders and their clients, but also to experiment with

alter native design solutions.[7] Therefore, there is no doubt

that design modeling and drawings are necessary to us.

And after the emergent of the parametric programme, such

as Non-Uniform Rational B-Splines (NURBS) like Rhino and the

later appearance of integrated parametric modelers such as

Grasshopper [8], the similar calculation and modeling can be

done by computation in place of the time-costly and com-

plex model making and calculation by mankind. Also, with the

help of technological advancement, parametric algorithmic

design not only perform as an effective tool for calculation

and algorithm, but also act as an efficient way to response

the environments. In order to sustain and improve the natural

environment, using parametric thinking into the design process

become an essential way that can widely considering the

complex environmental factors into the design.

Research by Design

Based on the computer-aided design research, computa-

tional systems provide varying levels of assistance to human

designers by taking care of smaller or larger parts of the de-

sign process.[9] After the emerge of 2002 Serpentine Pavilion,

people are focusing on the possibilities of algorithmic design

in terms of aesthetic and tectonic aspects. Many iconic archi-

tectural designs were produced from 2003 onward employing

these powerful digitally integrated performative design envi-

ronments in which form is driven by performance. [10] In respect

of flexibility and complicity of nature, digital materiality and

fabrication become an effective way in designing. It is in the

computational modelling of natural principles of performative

design of material systems that we can potentially create a

second nature, or a sounder architecture with respect to ma-

terial ecology. [11] In the future, the parametric design would

completely capture the fantastic design and the cruel nature.

Precedent study:The first case study would be “The Heydar Aliyev Center”, 2013.

The second case study would be Library of Tama Art University, 2007.

A2. DESIGN COMPUTATION

CONCEPTUALISATION

HEYDAR ALIYEV CULTURAL CENTERBAKU, AZERBAIJAN, 2012

19

“i havE always apprEciatEd thosE who darE to ExpErimEnt with matErials and proportions.

-- Zaha hadid

CONCEPTUALISATION

In Hadid’s buildings, you are not hard to discover that there

are many fluid or organic design occurring in her works, like

the Tokyo 2020 Olympic stadium and Galaxy Soho in Bei-

jing. Continuing with the unique style, the Heydar Aliyev Center

is performing the characteristic with continuous movement in

appearance with the aid of computation.

The parametr ic design

Early in the design process, engineers performed a mathe-

matically based computer analysis. “It’s good practice to

do structural calculations for projects of that kind with a 3D

nonlinear finite element analysis, including special loads like

earthquake and high wind loads as present in Baku,” said by

the project engineer for this building.

Computation play an important role in the project that

advanced computing allowed for the continuous control and

communication of these complexities among the numerous

project participants in terms of a broad range of different

functions, construction logics and technical systems.

The advantages of computation

Not only the challenge of continuous surface have to con-

front, but also the complex structure of liquid building require

to deal with. The digital architectural space frame system

enabled the construction of a free-form structure and saved

significant time throughout the construction process.

CONCEPTUALISATION

The Baku complex actually consists of three

buildings - a conference center, a museum

and a library - connected through an inte-

rior space and by the curving “fluid” enve-

lope that winds across the entire structure.

A design inspired by “the fluid geometry of

water in motion,” which used Rhino software

to develop a highly precise but constantly

evolving 3D digital model of the Baku center.

Conceiving and building the complex in-

volved simultaneous coordination with teams

in other professional in the world.

21

CONCEPTUALISATION

TAMA ART UNIVERSITY LIBRARYTOKYO, JAPAN, 2007

23

“I would lIke to use archItecture to create bonds between people who lIve In cItIes, and even use It to recover the communItIes that used to exIst In every sIngle cIty.

-- toyo Ito

CONCEPTUALISATION

This building may not be a good

example of complex and fantastic

design using advance algorithmic

programme, but this is a great chance

to know how spatial planning and de-

sign could be improved by algorithmic

thinking and computation. The first idea

of library was for a wide open gallery

on the ground level that would serve

as an active thoroughfare for peo-

ple crossing the campus, even without

intending to go to the library. To let the

flows and views of these people freely

penetrate the building, designers began

to think of a structure of randomly

placed arches which would create the

sensation as if the sloping floor and the

front garden’s scenery were continuing

within the building.

“For the first time perhaps, architec tural

design might be aligned with neither for-

malism nor rationalism but with intelligent

form and traceable creativity.” [12] In

plan these arches are arranged along

curved lines which cross at several

points. Also, the spatial diversity experi-

ences when walking through the arches

different in span and height changes

seamlessly from a cloister-like space

filled with natural light, to the impression

of a tunnel that cannot be penetrated

visually. The library is a new place of

arcade-like spaces where soft mutual

relations form by simply passing through;

a focal center where a new sense of

creativity begins to spread throughout

the art university’s campus.

25

12 Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), pp. xi

CONCEPTUALISATION

A3. COMPOSITION/GENERATION

Comparing to computerization which enhance the

precision and effectiveness of drawing, computation

extend designer’s abilities to capture not only the

complexity of how to build a project, but also the multitude of

parameters that are instrumental in a building’s formation. Like

Sean Ahlquist and Achim Menges, they defined computation

as ‘the processing of information and interactions between

elements which constitute a specific environment; it provides a

framework for negotiating and influencing the interrelation of

datasets of information, with the capacity to generate com-

plex order, form, and structure. [13] In other words, computation

can be expressed as an algorithm that able to provide inspi-

ration to architects that explore new design options and to

analyse architectural decisions during the design process. By

generated the corresponding code using scripting languag-

es, like RhinoScript, we would gain an opportunities to modify

the code to explore new options, and speculating on further

design potentials.

Highly efficient performance of buildings

To sustain our world and protect our future, creating and

designing the building with better efficiency and performance

is becoming an essence.

By using these tools, structural, material or environmental per-

formance can become a fundamental parameter in the cre-

ation of architectural form in responding the environment. Also,

like drawing, architects working with the pen or pencil can be

used to either draw building details or create conceptual

sketches for buildings, computational tools can be used to

increase efficiency and allow for better communication, as

well as for conceptual sketching of algorithmic concepts. [14]

Computation allow architects predict, model and simulate the

encounter between architecture and the public using more

accurate and sophisticated methods. In this way, computation

makes possible not only the simulation and communication of

the constructional aspects of a building, but also the experi-

ence and the creation of meaning. [15]

Architecture is currently experiencing a shift from the drawing

to the algorithm as the method of capturing and communi-

cating designs. Through computation, the digital architectural

design environment has both the ability to construct com-

plex models of buildings and give performance feedback

on these models that sketching by algorithm. Computational

designers are more than just creators of complex 3-D models

or the developers of digital tools – they distil the underlying

logic of architecture and create new environments in which to

explore designs and simulate performance, both physical and

experiential. [16] Therefore, it is clear that the flexible nature,

form-finding and performance analysis power, and simple

27

“13 Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking, John Wiley & Sons (Chichester), 2011.14 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp1515 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp1316 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp15

whEn architEcts havE a sufficiEnt undErstand-ing of algorithmic concEpts, whEn wE no longEr nEEd to discuss thE digital as somE-thing diffErEnt, thEn computation can bEcomE a truE mEthod of dEsign for architEcturE.

--brady pEtErs

translation to fabrication information

makes parametric modelling a powerful

and efficient design tool.

Precedent study:The first case study would be Agenware: research,

2009.

The second case study would be Digital Grotesque,

2013.

CONCEPTUALISATION

AGENWARE:RESEARCH, 2009 BIOTHING

29“archItecture Is currently experIencIng a shIft from the drawIng to the

algorIthm as the method of capturIng and communIcatIng desIgns.

-- brady peters

CONCEPTUALISATION

In recent years architecture has

gained access to generative

methods with large populations of

agents via explicit application of

scripting and programming in de-

sign process. Large data sets carry

twofold potential in establishing

explicit connection between built

fabrics and external input data,

addressing increasing complexity of

constructed environments and their

capacity for adaptation.

The study of emergence, where in-

dividual agents work in conjunction

with their “host” environments and

in collaboration with other simple

agents towards higher order com-

plexity, is leading towards new kinds

of structural, organizational, spatial

and esthetic behaviors. Such con-

text reflects self-regulatory patterns

found in natural ecosystems, which

contemporary science, engineering

and architecture are only starting

to learn from. This emergent intelli-

gence is being encapsulated as

series of proto-patterns capable

of rewriting existing protocols in

architecture, including long inabil-

ity of the field to productively and

creatively address acute issues of

sustainability.

An era of algorithmic computationArchitecture is currently experienc-

ing a shift from the drawing to the

algorithm as the method of cap-

turing and communicating designs.

The computational way of working

augments the designer’s intellect

and allows us to capture not only

the complexity of how to build a

project, but also the multitude of

parameters that are instrumental in

a buildings formation. [17] Increasing

the material resolution and levels

of information while having access

to the coding of material or struc-

tural or organizational behaviors

increases the ability of designed

systems to respond, feedback, learn

and adapt to the “host” condi-

tions. Such approach is narrowing

the gap between the power of

computation and materialization.

17 Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10

31

Increased “resolution” allows pro-

gramming of molecular transactions

rather than totality of deterministic

design or planning.

At the core of the work is an accu-

mulative library of scripts and meth-

ods for transcoding, applicable to

the constraints of materials, structure,

fabrication and assembly. Evolving

algorithmic infrastructure allows a

designer to work at the scale of

information linked to various forms

of materialization. Computational

patterns are understood as deep

in terms of the potential to produce

expressions at various scales. Highly

affective outcomes and the use of

algorithmic scripting as the prima-

ry generative mode are frequently

inseparable.

CONCEPTUALISATION

DIGITAL GROTESQUE, 2013MICHAEL HANSMEYER

“there are unseen objects that awaIt us, If we as archItects begIn to thInk about desIgnIng not the object, but a pro-cess to generate objects.

-- mIchael hansmeyer

33

CONCEPTUALISATION

35

Digital Grotesque is between chaos

and order, both natural and the

artificial, neither foreign nor famil-

iar. Any references to nature or existing

styles are not integrated into the design

process, but are evoked only as associ-

ations in the eye of the beholder.

Design by Algorithm

In computational design, the architect

no longer develops form using pen and

paper or by mouse in a CAD program,

but instead defines procedures to gen-

erate form. Shifting the design process

onto this abstract level has a dramatic

impact: Forms can be designed with a

complexity and richness that would be

impossible to draw by hand. Now these

complex forms can be brought out of

the computer using additive manufac-

turing. Bits and bytes can be rendered

directly into reality.

The combination of computational

design and additive manufacturing

can lead to a non-standardized, highly

differentiated and spatially complex

architecture that is defined at the scale

of millimeters.

In the Digital Grotesque project, every

detail of the architecture is generated

through customized algorithms, without

any manual intervention. A simple input

form is recursively refined and enriched,

culminating in a geometric mesh of 260

million individually specified facets. This

single process generates many scales of

architecture, from the overall form with its

broad curvature, to local surface devel-

opment, down to minute textures.

While computational geometry in archi-

tecture is often used to create volumes

with smooth, minimal surfaces, in the

Digital Grotesque the design goal is the

exactly the opposite. A maximal articula-

tion of the surface creates a volumetric

depth, where light is reflected in million

different directions and the boundaries

of the architecture are spatially diffuse.

The single subdivision process produces

forms that contain information at multiple

scales. The closer one gets to the form,

the more features one discovers. Such a

hierarchical differentiation can also be

found in classic architecture. Yet unlike

traditional architectural design process-

es, here a single process is used both

to sculpt the overall form, and to create

the minute surface details.

This articulation can be used to create

features that exceed the threshold of

human haptic or visual perception that

would be entirely undrawable using

traditional means.

RCONCEPTUALISATION

“Architects don’t invent anything; they transform reality.

--Álvaro Siza Vieira

37RDesign Futuring

To rethink the reason why we are doing

design, how can we create a better

world for next generation, which methods

can slow down the destruction of earth.

To approach our better world, what can we

design better environment with the help of

high-technology, or computation, and what

is the benefit when using computation.

To response the current situation of environment,

designing the sustainable architecture with

computation and algorithmic thinking is

becoming more useful and neccessary.

Design Computation

Composition/Generation

eTh inking

CONCEPTUALISATION

A4. CONCLUSION

I THINK... Saving the world!? Is this sounds childish or naive?

I don’t think so, when the world is pushing closer

to the edge of destruction by our hand, saving

the world would be the top searching world in Goo-

gle soon. It is the time that we stand up to protect

our future and stopping destroy the world. Under this

situation, design computation may be a good solu-

tion. By using computation and algorithmic thinking, we

could be create and design the building with better

efficiency and performance. Many cases proofed that

computation in architecture have improved the pro-

ductivity and creativity of design, especially in material

and engineering aspects. In terms of the complexity

of geometries, building forms and structures, it is much

more complex and efficiency when using parametric

computation instead of traditional thinking. Also, with

the help of technological advancement, parametric

algorithmic design not only perform as an effective

tool for calculation and algorithm, but also act as an

efficient way to response the environments. Through

computation, the digital architectural design environ-

ment has both the ability to construct complex models

of buildings and give performance feedback on these

models that sketching by using algorithmic language.

In the future, the parametric design would completely

capture the fantastic design responding the diversity

of natural environment.

39

...THEREFORE I AM

A5. LEARNING OUTCOME

After the conceptualization of studio air, I am starting to rethink

what I am doing in these days and what should I do in the fu-

ture. Is that becoming a registered architect with considerable

salary could be good for me? Or keep pretending the world is still

great and wonderful that no need to change? The answer may be

different to others, but, for now and for me, I would try to contribute

my little effort by applying my knowledge to design something which

is benefit to the environment, not for gaining honor from public but for

the sustainment of our environment. To be honest, i don’t even heard

about the concept about algorithmic thinking or computation before

coming to the studio. The thing i have learned before is that how

to attract audience or client by using good layout and diagram

or how to process precise CAD drawing to others parties etc. I think

these skills are also useful and meaningful, but there is no meaning

to become a professional architect without faith. In here, the faith is

representing the idea to create a better world rather than the faith

that becoming a famous architect who creating fantastic and iconic

architectures which are not responding the surrounding environment

or even harmful for environment due to lack of consideration about

the sustainability.

In the following weeks, I would look forward to algorithmic architec-

ture which well responding to the site and environment, like the works

of Toyo Ito and Shigeru Ban. Like one of my favorite architects, Alvaro

Siza, said that architects don’t invent anything; they transform reality, i

hope i could equip more knowledge and skill to create a sustainable

and responding work in final stage.

Sketch. 01Algorithmic thinking:

A6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

41

cruve divide curve

divide curvedivide curve

range

graphic maper multiplication

move Interpolatepoint charge

circle

merge fieldfield line

Algorithmic thinking:

TSketch. 02

Original

s t ep1 s t ep2 -7

point A line A

line B geometry *HOOPSNAKE

*ORIENT DIRECTION

line

line

endpoint

vector

line C

point B

point C

XY planedeconstruct

plane

point

vector

x coordinatey coordinatez coordinatex coordinatey coordinatez coordinatex coordinatey coordinatez coordinate

step 1 step 2 step 3 step 4 step 5

ree

T Hoopsnake : require the geometry and the line input in related to the output that forming an close system.

Orient Direction : require the origin point, origin vector, guide point, guide vector and geometry, which is total five inputs.

step 6 step 7

43

Loft

Pipe

CONCEPTUALISATION

BIBLIOGRAPHY

InterentKristin Dispenza, (2011), Zaha Hadid’s Heydar Aliyev Cultural Cen-

tre: Turning a Vision into Reality , Retrieved from http://buildipedia.

com/aec-pros/from-the-job-site/zaha-hadids-heydar-aliyev-cultur-

al-centre-turning-a-vision-into-reality

Michael Hansmeyer, (2013), Digital Grotesque , Retrieved from

http://www.michael-hansmeyer.com/projects/digital_grotesque.

html?screenSize=1&color=1#1

Grotto-Hansmeyer, (2013), Retrieved from http://www.frac-centre.

fr/_en/exhibitions/history-exhibitions/rub/archilab/grotto-hansmey-

er/grotto-560.html

Alisa Andrasek, (2010), //AGENWARE::RESEARCH/2009////////////////

, Retrieved from http://www.biothing.org/?cat=6

CENTREPOMPIDOU-METZ, (2008), Retrieved from http://www.cen-

trepompidou-metz.fr/en/welcome

45

Book

Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical

Discourses and Social Practices (Minneapolis: University of Minnesota Press), pp.1-16

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.

1-15

Issa, R, (2010), Essential Mathematics for computational design, Second Edition, Robert

McNeel and associates, pp 1 - 42

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (Lon-

don; New York: Routledge), pp. 1–10

Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), pp. i - xi

Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Archi-

tectural Design (AD) Special Issue - Computation Works V83 (2), p. 1-10

Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. Architectural

Design, 83(2), pp. 8-15.

Kalay, Y. E. (2004). Architecture’s new media: principles, theories, and methods of comput-

er-aided design. MIT Press, pp. 1-25

Schumacher, P. (2012). The Autopoiesis of Architecture, Volume II: A New Agenda for Archi-

tecture (Vol. 2). John Wiley & Sons, pp. 1-28

CRITERIA DESIGN

47

For the following practices, one

of the Material System, called

Biomimicry, will form the founda-

tion of my technique on grasshopper

and algorithmic thinking. To narrow

the field, I focusing on the Voronoi

System of Biomimicry. Voronoi system

on grasshopper is one of the vari-

ation of voronoi diagram in mathe-

matics, also found in many charac-

teristics of creatures, like skin pattern

of giraffe, which is the reason why

voronoi system is belonging to Bio-

mimicry. A Voronoi diagram is a way

of dividing space into a number of

regions. A set of points (or called

seed in grasshopper) is specified

beforehand and for each seed

there will be a corresponding region

consisting of all points closer to that

seed than to any other. The regions

are called Voronoi cells.

In the following part, i would like to

analyze how the number of points

and the shape of container are

influencing the size and shape of

voronoi cells.

B1. RESEARCH FIELD

CRITERIA DESIGN

CylinderRectanglar Box Pyramid

Biomimicry - Voronoi System

Cone

Difference of literations between Box, Cylinder, Pyramid and Cone

Length: Width: Height:

Width: Height:

Radius: Height:

Radius: Height:

2020100

10100

10100

10100

B2. CASE STUDY 1.0

49

Random points 15 points 30 points 60 points 120 points 240 points

Cylin

der

Rect

ang

lar Bo

xPy

ramid

Cone

Development of 60 points - Weaverbird’s Loop Subdivision(X-ray perspective)

CRITERIA DESIGN

CylinderRectanglar Box

51

Pyramid Cone

CRITERIA DESIGN

B3. CASE STUDY 2.0

53

VERTICAL VILLAGE D3 HOUSING TOMORROW 2011 COMPETITION

CRITERIA DESIGN

100 random points 3D VoronoiContainer

point A

Box 2Pt

Box 2Pt

Populate 3D

Populate 3D

Voronoi 3D

Voronoi 3D

Point List

List Item

Cull indexDeconstruct

Brep

Integer

point B

No:100

x coordinatey coordinatez coordinate

x coordinatey coordinatez coordinate

Reverse-Engineer

55

Cull unwanted pattern Model Frame Final Model

Cull Item

Explode

Scale Explode End Points

Point Construct Mesh

Mesh JoinMesh

Thicken

Mesh Thicken

Mesh Quad

End PointsExplodeScale

Polygon CentrePolyline

Polyline

Factor: 0.9

Factor: 0.8

CRITERIA DESIGN

VERTICAL VILLAGE ‘S MODEL

With the help of Grasshop-

per, the vertical village is

not difficult to re-built. The

houses are envisioned as cells with

largest possible usable area both in

vertical and horizontal direction. The

system has defined both practical

and dramatic spaces to make a

bridge between orthogonal surfaces

and irregular zones that may be re-

quired by the residents for different

purposes. From this project, there are

many things inspire me, like the cull

pattern as we want and the orthog-

onal structural frame etc. To further

my analysis on the techniques,

57

REVERSE-ENGINERRING MODEL

CRITERIA DESIGN

B4. TECHNIQUE: DEVELOPMENT

80 Random Points 3D VoronoiRectanglar ContainerLength: Width: Height:

200200800

59

Methods of culling voronoi cells

? !Cull IndexRandom ReduceCull NthCull Pattern

Sets - Sequence

CRITERIA DESIGN

Original

Original

Input_1

Input_1

Input_9

Input_9

Input_8

Input_8

Input_2

Input_2

Input_10

Input_10

Input_11

Input_11

Input_12

Input_12

Input_3

Input_3

Input_4

Input_4

Cull IndexFactor: Cull Indice

Factor: ReductionRandom Reduce

0/80

0/80

40/80

40/80

5/80

5/80

45/80

45/80

10/80

10/80

50/80

50/80

15/80

15/80

55/80

55/80

20/80

20/80

60/80

60/80

61

Cull Nth

Input_1

Input_1

Input_2

Input_2

Input_13

Input_13

Input_14

Input_14

Input_15

Input_15

Input_3

Input_3

Input_4

Input_4

Input_5

Input_5

Input_6

Input_6

Input_7

Input_7

Factor: Cull frequency

Factor: Cull patternCull Pattern

2/80

5/80

5/80

15/80

15/80

30/80

20/80

60/80

25/80

25/80

65/80

65/80

30/80

30/80

70/80

70/80

35/80

35/80

75/80

75/80

CRITERIA DESIGN

Cull IndexFactor: Cull Indice Factor: Reduction

Random Reduce

Input_7 35/80 Input_6 30/80

Based on the research of the cull

function, i have realized that

four component act as different

character in term of the aims. For “Cull

Index”, it is a component that can cull

the particular cells as our wish, which is

based on the point list. For the “Random

Reduce”, it would create some free-

dom shape as the control merely is the

number of reduction. These two types of

cull method are easier as it is modifying

the number of reduction cells, when the

number is increase, the cells is getting

less, vice versa.

On the other hand, “Cull Nth” is a spe-

cial component that it control the Nth

element of the point list, such as frequen-

cy-3 would deduct every points in 3

sequence. Beside, “Cull pattern” is more

unique and difficult component that

using Boolean Toggle (True or False) to

63

Cull NthFactor: Cull frequency Factor: Cull pattern

Cull Pattern

Input_2 5/80 Input_2 15/80

control the pattern of voronoi cells.

In conclusion, there is a good chance

to experience different cull components

and commands which are helpful in the

following design process.

DETAILED DESIGN

3.25

1.00

65

U Domain

R parameter

T parameter

V Domain

EXPERIMENT ON KLEVIN SURFACE

2.0 * Pi

1.0 * Pi

B5. TECHNIQUE: PROTOTYPES

CRITERIA DESIGN

After combining the idea of 3D

Voronoi cells and Parametric

Klein Surface, a draft model is

created.

ALGORITHMIC FORMEXPERIMENT ON KLEVIN SURFACE

67

3D Voronoi CellA independent space

CRITERIA DESIGN

Voronoi Cell A series of cellsPerform different functionsSpecific function

69

Multi-functional buildingVariety of activity

CRITERIA DESIGN

71

B6. TECHNIQUE: PROPOSAL

N

04:25

06:54

08:3715:38

21:58

19:14

13:00

13:00

13:00

CRITERIA DESIGN

To enhance the efficacy of solar

generators, the orientation of

building and solar panel are sig-

nificant to that. According to website of

Matti Tukiainen, the duration of daytime

is up to 17.5 hours during summer, it is an

great advantage of generate energy

by solar energy generator. Although the

daytime of winter is merely around 7

hours, the daytime of spring and autumn

are around 12 hours. Therefore, it is still a

great chance to apply solar generative

method in Copenhagen.

73

CRITERIA DESIGN

75

Area: 74,635m2

Scale 1:1000Site Plan

Elev

atio

n B

Elevation A

CRITERIA DESIGN

Proposed installation of solar panel

77

According to the shape of voronoi cells to install small solar cells

Trienergia-solar-panels

CRITERIA DESIGN

B7. LEARNING OBJECTIVES AND OUTCOMEGO FURTHER @ PART B

79

Grasshopper is an angel to generating amazing algorithmic pattern, but

also a devil to spend thousands of time into it. Throughout the project like

this, the skill of algorithmic thinking is enhanced and realized that what the

limitation of algorithmic calculation and computation is. As the respect of Voronoi

system, the iterations are similar but there are huge developing region for me to

explore. For the 2D voronoi systems, i have tried to use attractor point to show the

variation of pattern. And I have analyzed on the shape of container of 3D voro-

noi cells, the number of points which influence the size of voronoi cell and also cull

method in different components that showing distinct approach to form an interest-

ing pattern and structures of voronoi. However, the techniques of cull commands are

still developing and hopefully would apply on the final model in the future.

Moreover, the voronoi cells are acting as different space providing interesting spa-

tial feeling. Applying different texture and transparency of the materials using on

the frame would become a fantastic research for the next part. In the Case Study

2.0, the precedent study showing an orthogonal skills that providing a useful skill

and technique to me. It is necessary to spend time to study this kind of technique.

CRITERIA DESIGN

I have discoursed the techniques further in order to create some interesting generative pattern. Based on case study 2.0,

there a combination of two voronoi pattern surfaces in term of XZ plane and YZ plane. Therefore, i focusing on the variation

of voronoi pattern by using “Point Attractor”. In the following part, i use the 16:9 size of rectangle as the container of voronoi

pattern which formed by 600 points and showing the effect of the “Point Attractor” in term of number (1-3) and dimensional

(2D and 3D).

16.00

9.0

0

1.0

1.0

x-axis X/16Y/9y-axisP

1 p

oin

t

Two Dimensional

x-axis 1/161/9y-axisA x-axis x-axis3/16 14/16

4/9 7/9y-axis y-axisA A

B8. APPENDIX - ALGORITHMIC SKETCHES

81

x-axisy-axis

x-axisy-axis

3 p

oin

ts2 p

oin

tsTwo Dimensional

x-axis

x-axis

1/16

1/16

1/9

1/9

y-axis

y-axis

A

A

x-axis

x-axis

4/16

15/16

1/9

1/9

y-axis

y-axis

B

B

x-axis

x-axis

1/16

1/16

4/9

8/9

y-axis

y-axis

C

C

x-axis

x-axis

x-axis

x-axis

11/16

3/16

15/16

14/16

1/9

7/9

3/9

6/9

y-axis

y-axis

y-axis

y-axis

C

C

C

C

x-axis

x-axis

x-axis

x-axis

x-axis

7/16

15/16

3/16

5/16

4/16

4/16

1/9

4/9

4/9

2/9

4/9

2/9

y-axis

y-axis

y-axis

y-axis

y-axis

B

B

B

B

B

B

x-axis

x-axis

x-axis

x-axis

x-axis

3/16

1/16

3/16

3/16

3/16

1/16

1/9

4/9

1/9

1/9

3/9

8/9

y-axis

y-axis

y-axis

y-axis

y-axis

A

A

A

A

A

A

x-axisy-axis

x-axisy-axis

6/163/9

A

10/165/9

B x-axis 10/164/9y-axisB

x-axis 6/164/9y-axisA

y-axis

y-axis

x-axis 1/161/9

A

x-axis 15/168/9

B x-axisy-axis

x-axisy-axis

9/161/9

B

7/168/9

A

CRITERIA DESIGN

Straight Voronoi Frame

Smooth Voronoi Frame

83

CRITERIA DESIGN

85

BIBLIOGRAPHY

Book

Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practic-

es (Minneapolis: University of Minnesota Press), pp.1-16

Dmitry Dimov, (2012). SOLAR PANEL CONFIGURATIONS, United States Patent Application Publication, P1-19

Interent

ACME, (2009), UN MEMORIAL, Rretrieved from http://www.acme.ac/acme-space/projects/un-memorial?p=image

Green Deal Advisory Centre, (n.d.), Trienergia Solar Panels, Rretrieved from http://www.greendealadvisorycentre.co.uk/

trienergia-solar-panels

Tuvie - Futuristic Technology, (2011), Vertical-Village, Rretrieved from http://www.tuvie.com/vertical-village-offers-enjoy-

able-village-living-without-occupying-plenty-of-lands/

Afasiaarq, (2011), Yushang Zhang, Rajiv Sewtahal, Riemer Postma & Qianqian Cai, Rretrieved from http://afasiaarq.

blogspot.com/2011/02/sewtahal-zhang-postma-cai.html

Archdaily, (2011), Vertical Village: A Sustainable Way of Village-Style Living, Rretrieved from http://www.archdaily.

com/109772/vertical-village-a-sustainable-way-of-village-style-living-yushang-zhang-rajiv-sewtahal-riemer-postma-

qianqian-cai/

d3, (2010), FIRST PRIZE Vertical Village: A Sustainable Way of Village-Style Living, Rretrieved from http://www.d3space.

org/competitions/

DETAILED DESIGN

C1. DESIGN CONCEPT

For the inspiration, it is came from the sea and there are two elements gaining

my interest which is the wave form and the voronoi pattern created by pen-

etrating light through the water. Based on these elements, I started to form a

shape of container for the 3D voronoi cells, which is like what I have done in Case

Study 1.0.

The basic form of wave

The flexibility of liquid water

Penetrating light through water

87

Wave pattern (regelar/ retangle shape)

Sunlight

Voronoi pattern (irregular/ biological shape)

DETAILED DESIGN

Component 1

Component 2

+

U Division:

V Division:

R Parameter:

T Parameter:

Scale:

Domain 1:

Domain 2:

Input of Components

96.0

91.0

6.0

1.0

10

2*Pi

1*Pi

U Division:

V Division:

R Parameter:

T Parameter:

Scale:

Domain 1:

Domain 2:

Input of Final form

96.0

91.0

6.0

1.0

10

2*Pi

2*Pi

Component 1

Component 2

Final Form of Container

EXPERIMENT ON KLEVIN SURFACEDEVELOPMENT ON ALGORITHMIC FORM

89

Container - Box

Container- Klevin Surface

80 Ramdom Points

3D Voronoi Cells

3D Voronoi Cells

1400 Ramdom Points

1400 Voronoi Cells

Framing the Voronoi Cells

Basic Container

1400 Ramdom Points

DETAILED DESIGN

91

For the shape of container, Paramet-

ric Klein Surface which is one of the

components of Lunchbox gaining

my interest. By adjusting the factors of

the components, like R parameter, T pa-

rameter, Scale, U domain and V domain,

a desired shape is formed. Then basiced

on this shape, a infinite circulating shape

formed by combining component 1 & 2

together with different direction.

DETAILED DESIGN

573.00<=

516.10

459.20

402.30

345.40

288.50

231.60

174.70

117.80

60.90

<=4.00

Wh/m2

15.00<=

13.50

12.00

10.50

9.00

7.50

6.00

4.50

3.00

1.50

<=0.00

Hours

SUNPATH ANALYSIS OF LADYBUGProduced by Ladybug 0.0.58

Sun-Path Diagram - 10 MAYLatitude: 55.63m

Hourly Data: Global Horizontal Radiation (Wh/m2)Copenhagen_DNK

Selected location for solar panel

Perspective ViewTop View

93

Solar System Solar Panel

Selected Solar Panel Solar Cells Hexagonal Solar Cells

620mm

540mm

620mm

540mm

According to the sunpath analysis

of Ladybug, i selected the panels

which were exposed under the

sunlight over than 9.00 hours. There are

total 352 panels for installing the solar

system that sufficient for generating

self-energy and providing surrounding

region energy. In the design of solar

system, i selected Hexagonal solar cells

that suitable for irregular shape and

structure, like my cloudland.

Semi-transparent

DETAILED DESIGN

Human Scale 1.8m Tall

95

Voronoi Cells/ SpaceCorresponding Voronoi cells to solar panels

DETAILED DESIGN

Solar SystemAccording to Ladybug softwave

Voronoi Cells/ SpaceCorresponding Voronoi cells to solar panels

Platform slabDivide to Functional use and Greenary

CirculationVertical transportation - Lift

OverviewCombination of components

97

Functional use spaceTotal area: 3, 655m2

With the aid of computation and

algorithmic softwave, a effective

solar system is created in order

to maximum the efficency of energy gen-

eration. Based on the location of solar

panels, the corresponding voronoi cells

is selected for placing slab within them.

Five horizontal slab is sectioning the

voronoi cells and form the irregular floor

slabs. Then, the larger slab-platform

are desgined for functional use: small

library, resting room, restraurant etc.; and

the smaller slab-platform are designed

for greenery that providing satisfied

environment for visits and user. Since the

slab-platform are based on the sunpath

analysis, there are sufficient sunlight for

plants and vegetation.

MULTI-FUNCTIONAL SPACEDESIGN PROPOSAL

Total area: 1, 530m2Greenery space

DETAILED DESIGN

Total area: 488m21st Floor Plan

Total area: 843m22nd Floor Plan

+6.0m +9.5m

Scale: 1/1750

0 10 20 30 40 80m

Diameter: 3.00mCylinder Elevator

+6.0m

+9.5m

+13.0m

+16.5m

+20.0m

99

Scale: 1/600Elevation A

Total area: 749m23rd Floor Plan

Total area: 1, 272m24th Floor Plan

Total area: 1, 664m25th Floor Plan

+13.0m +16.5m +20.0m

1st Floor

2nd Floor

4th Floor

3rd Floor

5th Floor

To the circulation, people can arrive their destina-

tions by cylinder elevators with 3m diameter. Every

egde of the slab is fenced by glass barrier with

1.1m height. Therefore, people can enjoy the wonderful

view of Oresund. Also, the ground level is placed with the

grass that providing a huge public space for people

resting or picnic.

0 5 10 15 20 40m

DETAILED DESIGN

C2. TECTONIC ELEMENTS AND PROTOTYPES

Structure Frame of Voronoi Cells

Cloudland is a architecture

constructed by large fram-

ing system using node join. The

voronoi cells is connected together by

steel rod (Dia: 200mm)and steel node

(Dia: 400mm), the solar panel is install in

the pit (THK: 100mm) of the special steel

rod. Structural joint members for a space

frame system with a node joint having

threaded apertures, structural strut mem-

bers with threaded end sections, and a

connecting member.1

Node Jointing System

101

Tectonic Elements

(Diameter: 200mm)STEEL ROD WITH PIT

THK.: 400mmPANEL FRAME

Diameter: 400mmSTEEL NODE

Diameter: 200mmSTEEL ROD

Structural Components

1) Steel Node

2) Connecting Stick

3) Steel Rod

4) Steel Rod with Pit

5) Panel Frame 3)

1)

4)5)

Size (Diameter/ Thinkness)

D: 400mm

D: 100mm

D: 200mm

D: 200mm & THK: 100mm

THK: 400mm

1 Croucher, Jr. (1989). STRUCTURAL JOINT MEMBERS FOR SPACE FRAME SYSTEM, United States Patent, pp. 1

DETAILED DESIGN

Diameter: 200mmSTEEL ROD3)

Structural Components

1) Steel Node

2) Connecting Stick

3) Steel Rod

4) Steel Rod with Pit

Size (Diameter/ Thinkness)

D: 400mm

D: 100mm

D: 200mm

D: 200mm & THK: 100mm

103

1)

Diameter: 400mmSTEEL NODE

(Diameter: 200mm)STEEL ROD WITH PIT4)

STEEL ROD

Diameter: 100mmCONNECTING STICK 2)

Physical Prototype Model3D Print using Powder

DETAILED DESIGN

C3. FINAL DETAIL MODEL

To clearify the interior space of the

model, i selected a part that includ-

ing the relationship and connection

of all components. The purpose of the

detail model is going to identify how is the

circulation work and how the mechanical

components, like solar panel and elevator

influence the interior space .

105

3D Section

DETAILED DESIGN

Steel node and rod

Node Jointing System

H: 1.8mHuman scale

THK: 100mmSolar Panel

Dia: 3mCylinder Elevator

THK: 200mmSlab Platform

3D Section Diagram - 01

1)

2)

3)

4)

5)

ILLUSTATION OF INTERIOR SPACE AND CIRCULATIONPARTLY SECTIONING MODEL

3D Section Diagram - 02

H: 1.1mGlass Barrier

The level difference of each floor is

3.5 meters and every slab-platform

is fenced with the glass barrier

to ensure the safety of people. There

are showing level 1 and level 4 slab-

platform that people can see through

other level by different angle since there

are all open space instead of enclosed

area to make sure of good ventalition

and daylight. People can arrive to dif-

ferent level by the transparent elevators.

Core Constrcution Elements

1) Node Joint system

2) Slab Platform

3) Cylinder Elevator

4) Solar Panel

5) Human figure

6) Glass Barrier

Size (Diameter/ Thinkness)

/

THK: 200mm

D: 3m

/

H: 1.8m

H: 1.1m

Level 4+16.5m

+6.0mLevel 1

107

6)

DETAILED DESIGN

ILLUSTATION OF INTERIOR SPACE AND CIRCULATIONPARTLY SECTIONING MODEL

Steel node and rod

Node Jointing System

109

Physical model - 013D Print using Grey Powder

Dia: 3mCylinder Elevator

THK: 200mmSlab Platform

Scale: 1/200

DETAILED DESIGN

Steel node and rod

Node Jointing System

ILLUSTATION OF INTERIOR SPACE AND CIRCULATIONPARTLY SECTIONING MODEL

111

Physical model - 023D Print using Grey Powder

Dia: 3mCylinder Elevator

Level 4Slab Platform

Level 1Slab Platform

DETAILED DESIGN

PUBLIC FUNCTIONAL SPACECLOUDLAND

113

BRONZE SCULPTURETHE LITTLE MERMAID

RING OF BASTIONED RAMPARTSKastellet

DETAILED DESIGN

115

DETAILED DESIGN

PERSPECTIVE AT 1PM SUMMERCLOUDLAND

117

DETAILED DESIGN

PERSPECTIVE AT 7PM SUMMERCLOUDLAND

119

DETAILED DESIGN

C4. LEARNING OBJECTIVES AND OUTCOME

Incredible programme

Paving the way

A story start

121

Infinite journey

God is in the details

Before learning the grasshopper, as

known as a practice of algorithmic

thinking with aids of computational

methods, I usually develop the design

concept by drawing on tracing pa-

per or variation on simple geometrical

model. Grasshopper provides another

interesting ways for finding the aesthetic

elements and the possibility of design. In

algorithmic software, you would acquire

considerable variations of model by only

adjusting the different of one factor.

It is an effective ways to maximise my

imagination and creativity by process-

ing large amount of calculation, like trim-

ming and patching, instead of manual

modification. Also, there is much more

flexible on the irregular shape of design,

like Biomimicry and Strips Folding, which

boarded the design boundary and

abandon of the inertial thinking.

In my algorithmic experiments - voronoi

system which is a complex components

of Biomimicry that could create complex

structures and forms that hardly made

by manual thinking. Furthermore, Grass-

hopper performs logical and systemic

relationship of input and output that

enhance the algorithmic thinking and the

logical thinking. In the future, there would

be much more computational softwares

and equipments that supporting the

architect design and work. Hence, studio

air was equipped us with the funda-

mental and important skills for upcoming

challenges.

DETAILED DESIGN

C5. APPENDIX

JOINT DEVICE FOR JOINING PRETENSIONED BRACE MEMBER TO CONNECTOR NODES 1N SPACE TRUSS STRUCTURE

STRUCTURAL JOINT MEMBERS FOR SPACE FRAME SYSTEMAndrew V. Kundrat, 1989

U.S. patents on Google

Carl D. Friedman, 1997

Patents Study

123

CLOUD CITY, 2012

The Metropolitan Museum of Art

Artist: Tomás Saraceno

Precendent Study

DETAILED DESIGN

BIBLIOGRAPHY

Book

Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71

Andrew V. Kundrat, (1989). STRUCTURAL JOINT MEMBERS FOR SPACE FRAME SYSTEM pp. 1-7

Carl D. Friedman, 1997). JOINT DEVICE FOR JOINING PRETENSIONED BRACE MEMBER TO CONNECTOR NODES 1N SPACE

TRUSS STRUCTURE. pp1-11

Interent

The Metropolitan Museum of Art, (2012), Tomás Saraceno on the Roof: Cloud City, Rretrieved from http://www.metmuseum.

org/saraceno

The Metropolitan Museum of Art, (2012), The Installation of Tomás Saraceno on the Roof: Cloud Cityy, Rretrieved from

http://www.youtube.com/watch?v=JKEP6DheJ3g

Geoffrey Braiman, David Beil, (2011), Voronoi Skyscraper, Rretrieved from http://www.evolo.us/architecture/voronoi-skyscrap-

er/

Tomas Kozelsky, Patrick Bedarf, Dimitrie Andrei Stefanescu, (2011), Laminated Wood Skyscraper in Brazil, Rretrieved from

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