STUDIO AIR 2 014, S em er ter 2 Tony Lau
L a u S i u Ya n To n y
I
’m studying the Bachelor of Environment and major
those challenges. In the past two years, i have
in Architecture in the University of Melbourne. As
finished the course of Architectural Studies in City
I’m a transferred students from Hong Kong, this
University of Hong Kong. In that period, my life
is my first time coming to Melbourne but studying
is full with the studio design and the “deadline”
the final year of the course. To me, Melbourne, or
in order to finish total five studio projects in one
Australia, is a very different place from Hong Kong,
and a half year, whcih trained me as an effecient
not only the change of extreme climate, but also the
and effective person to deal with the coming
culture difference. For the coming next year, there
issues and workloads. To me, Alvaro Siza is one
are many challenges I have to confront, including
of my most famous achitects that inspires me the
the difficulties of learning programming, heavy
aesthetic of purity with simple geometry and the
load of reading, and also the communication and
spactial idea of planning. Like Siza’s building, I’m
presentation of the idea in English. Nevertheless,
trying to achieving an simple and skillful geometric
studying Architecture and work within it is my major
design; pure and conceiable spatial planning;
dream and support that help me to overcome for
audacious and precise drawings in my own designs.
3
CONTENTS
PART A. CONCEPTUALISATION
A0. Introduction A1. Design Futuring A2. Design Computation A3. Composition/Generation A4. Conclusion A5. Learning outcomes A6. APPENDIX - ALGORITHMIC SKETCHES
PART B. CRITERIA DESIGN
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
PART C. DETAILED DESIGN
C1. Design Concept C2. Tectonic Elements & Prototypes C3. Final Detail Model C4. Learning Objectives and Outcome
BIBLIOGRAPHY
D S
DESIGN STUDIO:
REF
SHA
CO E J, LEV
PEN
H AG
AA II RR PROGRAMMING THE WORLD
DEN E N,
MA
RK
5
A1. DESIGN FUTURING
N
owadays, the place we are living in are becoming
chitecture, landscape architecture and planning may provide
much tougher than before, the polluted environment,
general answers to us. In Kropotkin’s writing, he wanted to re-
lack of natural resources, and the considerable sum of
store the quality of the natural environment after the ravages
human, these factors are making our life harder and reduce
of industrial development; the production of far more durable
the possibility of the future that can be sustained, which
artefacts; a focus on the development of community; the
means defuturing. How can we protect our future? How can a
devolution of government; the overcoming of alienated labor
future actually be secured by design? There are many ques-
and the development of the practice of apprenticeships.
tion and difficulties we have to confront, but I believe that our
1930s, there is a New Deal project held by Tennessee Valley
future could be sustained or improved by ‘Design’.
Authority (TVA) that addressing the issue of ‘planning and the
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
[3]
In
people’. And after that, Julian Huxley develop the concept further in order to recognize a fundamental and still absolutely relevant point about democratic design and democracy in general - good decisions require the people making them to be critically informed.
[4]
growing mass of cheap computers and design software pro-
The responsibility of public
viding to the public that anyone can pretend as a ‘design-
Much of what we know of institutions, the distribution of power,
er’ although they are only at junior level. Consequently, the
social relations, cultural values, and everyday life is mediated
design products in many aspects have becoming commercial
by the built environment. Thus, to make architecture is to con-
and trivial things due to the movement of ‘design democracy’.
struct knowledge, to build vision. To make architecture is to
In this situation, design either goes on becoming trivialized,
map the world in some way, to intervene, to signify: it is a po-
technocratic, invisible and elemental to the unsustainable, or
litical act. Architecture, then, as discourse, discipline, and form,
it becomes a path-finding means to sustain action countering
operates at the intersection of power, relations of production,
the unsustainable while also creating far more viable futures.
culture, and representation and is instrumental to the con-
[2]
struction of our identities and our differences, to shaping how
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-
CONCEPTUALISATION
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-
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 designing better environment to human. Precedent study: The first case study would be Centre Pompidou-Metz, 2010 The second case study would be ‘Zootopia’ In Denmark, In Progress.
“
to restore the quality of the natural environment [...]; the production of far more durable artefacts; a focus on the development of community; the devolution of government, [...] -- Peter Kropotkin
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 3 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 8 4 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 8 5 Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), pp. 1 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 15 1 2
7
CENTRE POMPIDOU-METZ METZ, FRANCE, 2010
CONCEPTUALISATION
“
Everyone
used to want to be star architects.
That’s
no
longer the case.
-- Shigeru Ban
9
I
n a very long time, the reason for people who wanting to become an architect is desiring for the honour of
creating amazing buildings without considering 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 fundamental ideas for design futuring. Ban is not interested in the newest materials and techniques, but rather the expres-
CONCEPTUALISATION
sion of the concept behind his building. Paper architecture Ban is most famous now for his innovative 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 compressive shell structure, in addition to
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 Architects� but he also can make solid claims for being modernist, a Japanese experimentalist, as well as a rationalist.
11
BIG ENVISIONS ZOOTOPIA GIVSKUD, DENMARK, IN PROGRESS
CONCEPTUALISATION
“ In
order to create a more immersive experience
for visitors, as well as provide the animals with a comfortable and more wild environment, ‘zootopia’ seeks to remove the physical partitions and cages typically utilized in zoos.
-- Danish
architects
BIG
13
D
esign Futuring is not only limited to
machine, we have to rethink the inter-
the building, but also means how
action between visitors and animals
to design a better living envi-
that educating the concept about the
ronment to human so as animals. In the
relationship between mankind, animals
future, creating a better and well plan-
and environment so as to create an
ning region for other living environment
ideal place for the future. Acting as
is more important than before in order
the inspiration of new idea of project
to maintain the diversity of ecology. Also,
scheme, the project will attempt to
this is related to the concept of ‘design
“integrate and hide buildings” within the
futuring’ that could inform the idea that
landscape and express the integration
provides an intriguing opportunity for
of nature and natural elements into cut-
the creation of a space with “the best
ting-edge, innovative architecture. The
possible and freest possible environment
complex’s building elements are inte-
for the animals’ lives and relationships
grated with the landscape, to conceal
with each other and humans.”
their appearance to the animals while
To modify the traditional perspective
distinctly fitting to the individual species.
towards zoo which is money-making
CONCEPTUALISATION
15
“
The straight line belongs to men, the curved one to God. -- Antoni Gaudí i Cornet
Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 3 9 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 4 10 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 4 11 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 6 7 8
CONCEPTUALISATION
A2. DESIGN COMPUTATION
D
esign Computation in architecture is undeniable that
environment, using parametric thinking into the design process
have improved the productivity and creativity of
become an essential way that can widely considering the
design, especially in material and engineering aspects.
complex environmental factors into the design.
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.
Research by Design Based on the computer-aided design research, computational systems provide varying levels of assistance to human
Possibility of conceivable geometries
designers by taking care of smaller or larger parts of the de-
Beyond 20th century, there is already some parametric works,
sign process.[9] After the emerge of 2002 Serpentine Pavilion,
like the Hanging model of Sagrada Familia by Antoni Gaudí,
people are focusing on the possibilities of algorithmic design
showing the possibility of parametric design in architecture
in terms of aesthetic and tectonic aspects. Many iconic archi-
and its advantages. Due to the advantages that Drawings
tectural designs were produced from 2003 onward employing
and scale models allowed architects not only to communicate
these powerful digitally integrated performative design envi-
with the builders and their clients, but also to experiment with
ronments in which form is driven by performance.
alternative design solutions.
of flexibility and complicity of nature, digital materiality and
[7]
Therefore, there is no doubt
[10]
In respect
that design modeling and drawings are necessary to us.
fabrication become an effective way in designing. It is in the
And after the emergent of the parametric programme, such
computational modelling of natural principles of performative
as Non-Uniform Rational B-Splines (NURBS) like Rhino and the
design of material systems that we can potentially create a
later appearance of integrated parametric modelers such as
second nature, or a sounder architecture with respect to ma-
Grasshopper
terial ecology.
[8]
, the similar calculation and modeling can be
[11]
In the future, the parametric design would
done by computation in place of the time-costly and com-
completely capture the fantastic design and the cruel nature.
plex model making and calculation by mankind. Also, with the
Precedent study:
help of technological advancement, parametric algorithmic
The first case study would be “The Heydar Aliyev Center”, 2013.
design not only perform as an effective tool for calculation
The second case study would be Library of Tama Art University, 2007.
and algorithm, but also act as an efficient way to response the environments. In order to sustain and improve the natural
17
HEYDAR ALIYEV CULTURAL CENTER BAKU, AZERBAIJAN, 2012
CONCEPTUALISATION
“ I
have always appreciated those who dare to experiment
with materials and proportions.
-- Zaha Hadid
19
I
n 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 mathematically 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
CONCEPTUALISATION CONCEPTUALISATION
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 confront, 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.
The Baku complex actually consists of three buildings - a conference center, a museum and a library - connected through an interior space and by the curving “fluid” envelope 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 involved simultaneous coordination with teams in other professional in the world.
21
TAMA ART UNIVERSITY LIBRARY TOKYO, JAPAN, 2007
CONCEPTUALISATION
“
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
23
T
his building may not be a good
“For the first time perhaps, architec tural
example of complex and fantastic
design might be aligned with neither for-
design using advance algorithmic
malism nor rationalism but with intelligent
programme, but this is a great chance
form and traceable creativity.” [12] In
to know how spatial planning and de-
plan these arches are arranged along
sign could be improved by algorithmic
curved lines which cross at several
thinking and computation. The first idea
points. Also, the spatial diversity experi-
of library was for a wide open gallery
ences when walking through the arches
on the ground level that would serve
different in span and height changes
as an active thoroughfare for peo-
seamlessly from a cloister-like space
ple crossing the campus, even without
filled with natural light, to the impression
intending to go to the library. To let the
of a tunnel that cannot be penetrated
flows and views of these people freely
visually. The library is a new place of
penetrate the building, designers began
arcade-like spaces where soft mutual
to think of a structure of randomly
relations form by simply passing through;
placed arches which would create the
a focal center where a new sense of
sensation as if the sloping floor and the
creativity begins to spread throughout
front garden’s scenery were continuing
the art university’s campus.
within the building.
CONCEPTUALISATION
12
Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), pp. xi
25
A3. COMPOSITION/GENERATION
C
omparing to computerization which enhance the
ation of architectural form in responding the environment. Also,
precision and effectiveness of drawing, computation
like drawing, architects working with the pen or pencil can be
extend designer’s abilities to capture not only the
used to either draw building details or create conceptual
complexity of how to build a project, but also the multitude of
sketches for buildings, computational tools can be used to
parameters that are instrumental in a building’s formation. Like
increase efficiency and allow for better communication, as
Sean Ahlquist and Achim Menges, they defined computation
well as for conceptual sketching of algorithmic concepts.
as ‘the processing of information and interactions between
Computation allow architects predict, model and simulate the
elements which constitute a specific environment; it provides a
encounter between architecture and the public using more
framework for negotiating and influencing the interrelation of
accurate and sophisticated methods. In this way, computation
datasets of information, with the capacity to generate com-
makes possible not only the simulation and communication of
plex order, form, and structure.
the constructional aspects of a building, but also the experi-
[13]
In other words, computation
can be expressed as an algorithm that able to provide inspiration to architects that explore new design options and to analyse architectural decisions during the design process. By generated the corresponding code using scripting languages, like RhinoScript, we would gain an opportunities to modify the code to explore new options, and speculating on further design potentials.
ence and the creation of meaning.
[14]
[15]
Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models that sketching by algorithm. Computational
Highly efficient performance of buildings
designers are more than just creators of complex 3-D models
To sustain our world and protect our future, creating and
or the developers of digital tools – they distil the underlying
designing the building with better efficiency and performance
logic of architecture and create new environments in which to
is becoming an essence.
explore designs and simulate performance, both physical and
By using these tools, structural, material or environmental per-
experiential.
formance can become a fundamental parameter in the cre-
form-finding and performance analysis power, and simple
CONCEPTUALISATION
[16]
Therefore, it is clear that the flexible nature,
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.
“
When
architects have a sufficient understand-
ing of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.
--Brady Peters
Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges 2011. 14 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural 15 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural 16 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural 13
(eds), Computational Design Thinking, John Wiley & Sons (Chichester), Design (2013), pp15 Design (2013), pp13 Design (2013), pp15
27
AGENWARE:RESEARCH, 2009 BIOTHING
CONCEPTUALISATION
“
Architecture
is currently experiencing a shift from the drawing to the
algorithm as the method of capturing and communicating designs.
-- Brady Peters 29
I
n recent years architecture has
of rewriting existing protocols in
gained access to generative
architecture, including long inabil-
methods with large populations of
ity of the field to productively and
agents via explicit application of
creatively address acute issues of
scripting and programming in de-
sustainability.
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.
An era of algorithmic computation Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect
The study of emergence, where in-
and allows us to capture not only
dividual agents work in conjunction
the complexity of how to build a
with their “host” environments and
project, but also the multitude of
in collaboration with other simple
parameters that are instrumental in
agents towards higher order com-
a buildings formation.
plexity, is leading towards new kinds
the material resolution and levels
of structural, organizational, spatial
of information while having access
and esthetic behaviors. Such con-
to the coding of material or struc-
text reflects self-regulatory patterns
tural or organizational behaviors
found in natural ecosystems, which
increases the ability of designed
contemporary science, engineering
systems to respond, feedback, learn
and architecture are only starting
and adapt to the “host” condi-
to learn from. This emergent intelli-
tions. Such approach is narrowing
gence is being encapsulated as
the gap between the power of
series of proto-patterns capable
computation and materialization.
[17]
Increasing
Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10 17
CONCEPTUALISATION
Increased “resolution� allows programming of molecular transactions rather than totality of deterministic design or planning. At the core of the work is an accumulative library of scripts and methods 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 primary generative mode are frequently inseparable.
31
DIGITAL GROTESQUE, 2013 MICHAEL HANSMEYER
“
There are unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.
CONCEPTUALISATION
-- Michael Hansmeyer
33
CONCEPTUALISATION
D
igital Grotesque is between chaos
form is recursively refined and enriched,
and order, both natural and the
culminating in a geometric mesh of 260
artificial, neither foreign nor famil-
million individually specified facets. This
iar. Any references to nature or existing
single process generates many scales of
styles are not integrated into the design
architecture, from the overall form with its
process, but are evoked only as associ-
broad curvature, to local surface devel-
ations in the eye of the beholder.
opment, down to minute textures.
Design by Algorithm
While computational geometry in archi-
In computational design, the architect
tecture is often used to create volumes
no longer develops form using pen and
with smooth, minimal surfaces, in the
paper or by mouse in a CAD program,
Digital Grotesque the design goal is the
but instead defines procedures to gen-
exactly the opposite. A maximal articula-
erate form. Shifting the design process
tion of the surface creates a volumetric
onto this abstract level has a dramatic
depth, where light is reflected in million
impact: Forms can be designed with a
different directions and the boundaries
complexity and richness that would be
of the architecture are spatially diffuse.
impossible to draw by hand. Now these complex forms can be brought out of the computer using additive manufacturing. Bits and bytes can be rendered directly into reality.
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
The combination of computational
found in classic architecture. Yet unlike
design and additive manufacturing
traditional architectural design process-
can lead to a non-standardized, highly
es, here a single process is used both
differentiated and spatially complex
to sculpt the overall form, and to create
architecture that is defined at the scale
the minute surface details.
of millimeters.
This articulation can be used to create
In the Digital Grotesque project, every
features that exceed the threshold of
detail of the architecture is generated
human haptic or visual perception that
through customized algorithms, without
would be entirely undrawable using
any manual intervention. A simple input
traditional means.
35
“
Architects don’t invent anything; they transform reality.
CONCEPTUALISATION
--Álvaro Siza Vieira
Design 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.
Design Computation 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.
Composition/Generation To response the current situation of environment, designing the sustainable architecture with computation and algorithmic thinking is becoming more useful and neccessary.
e t h i n ki n g
37
A4. CONCLUSION
I THINK...
S
aving 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 Google 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 solution. 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 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. 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 environment 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.
CONCEPTUALISATION
A5. LEARNING OUTCOME
A
fter the conceptualization of studio air, I am starting to rethink
...THEREFORE I AM
what I am doing in these days and what should I do in the future. 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 architecture 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.
39
A6. APPENDIX - ALGORITHMIC SKETCHES Sketch. 01 Algorithmic thinking:
CONCEPTUALISATION
cruve
divide curve
point charge
merge field
circle
divide curve
field line
divide curve
move
Interpolate
range graphic maper
multiplication
41
Sketch. 02
step 1
x coordinate y coordinate z coordinate x coordinate y coordinate z coordinate x coordinate y coordinate z coordinate
step 2
step 3
point A
line A
point B
line B
point C
line C
XY plane
step1
deconstruct plane
geometry
step 5
step 4
*HOOPSNAKE
endpoint line
vector *ORIENT DIRECTION
point vector
step2-7
Original
ree
line
step 6
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 7
Loft
Pipe
43
BIBLIOGRAPHY
Interent Kristin Dispenza, (2011), Zaha Hadid’s Heydar Aliyev Cultural Centre: Turning a Vision into Reality , Retrieved from http://buildipedia. com/aec-pros/from-the-job-site/zaha-hadids-heydar-aliyev-cultural-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-hansmeyer/grotto-560.html Alisa Andrasek, (2010), //AGENWARE::RESEARCH/2009//////////////// , Retrieved from http://www.biothing.org/?cat=6 CENTREPOMPIDOU-METZ, (2008), Retrieved from http://www.centrepompidou-metz.fr/en/welcome
CONCEPTUALISATION
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 (London; 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 Architectural 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 computer-aided design. MIT Press, pp. 1-25 Schumacher, P. (2012). The Autopoiesis of Architecture, Volume II: A New Agenda for Architecture (Vol. 2). John Wiley & Sons, pp. 1-28
45
CRITERIA DESIGN
B1. RESEARCH FIELD
F
or the following practices, one
consisting of all points closer to that
of the Material System, called
seed than to any other. The regions
Biomimicry, will form the founda-
are called Voronoi cells.
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 variation of voronoi diagram in mathe-
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.
matics, also found in many characteristics of creatures, like skin pattern of giraffe, which is the reason why voronoi system is belonging to Biomimicry. 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
47
B2. CASE STUDY 1.0
Rectanglar Box Length: Width: Height:
20 20 100
Cylinder Radius: Height:
10 100
Pyramid Width: Height:
10 100
Biomimicry - Voronoi System Difference of literations between Box, Cylinder, Pyramid and Cone
CRITERIA DESIGN
Cone Radius: Height:
10 100
15 points
30 points
60 points
120 points
240 points
Cone
Pyramid
Cylinder
Rectanglar Box
Random points
49
Development of 60 points - Weaverbird’s Loop Subdivision (X-ray perspective)
Rectanglar Box
CRITERIA DESIGN
Cylinder
Pyramid
Cone
51
B3. CASE STUDY 2.0
CRITERIA DESIGN
VERTICAL VILLAGE D3 HOUSING TOMORROW 2011 COMPETITION
53
Reverse-Engineer
Box 2Pt
Populate 3D
Container
x coordinate y coordinate z coordinate
100 random points
3D Voronoi
Integer point A
No:100
Box 2Pt x coordinate y coordinate z coordinate
Voronoi 3D
point B
CRITERIA DESIGN
Cull index Populate 3D
Voronoi 3D
List Item Point List
Deconstruct Brep
Cull Item
Mesh Thicken
Polyline
Cull unwanted pattern
Model Frame
Final Model
Factor: 0.9
Scale Explode
Polyline
Explode
End Points Point
Polygon Centre Scale
Explode
End Points
Construct Mesh
Mesh Join
Mesh Thicken
Factor: 0.8
Mesh Quad
55
W
ith the help of Grasshopper, 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 required by the residents for different purposes. From this project, there are many things inspire me, like the cull pattern as we want and the orthogonal structural frame etc. To further my analysis on the techniques,
VERTICAL VILLAGE ‘S MODEL
CRITERIA DESIGN
REVERSE-ENGINERRING MODEL
57
B4. TECHNIQUE: DEVELOPMENT
Rectanglar Container Length: Width: Height:
200 200 800
CRITERIA DESIGN
80 Random Points
3D Voronoi
? Methods of culling voronoi cells
!
Cull Index Random Reduce Cull Nth Cull Pattern
Sets - Sequence
59
Cull Index Factor: Cull Indice
Original
0/80
Input_1
5/80
Input_8
40/80
Input_9
45/80
Input_2
10/80
Input_3
15/80
Input_10
50/80
Input_11
55/80
Input_4
Input_12
20/80
60/80
Random Reduce Factor: Reduction
Original
0/80
Input_1
5/80
Input_8
40/80
Input_9
45/80
CRITERIA DESIGN
Input_2
10/80
Input_3
15/80
Input_10
50/80
Input_11
55/80
Input_4
Input_12
20/80
60/80
Cull Nth Factor: Cull frequency
Input_5
25/80
Input_6
30/80
Input_7
35/80
Input_13
65/80
Input_14
70/80
Input_15
75/80
Input_1
Input_3
2/80
Input_2
5/80
Input_4
15/80
20/80
Cull Pattern
Factor: Cull pattern
Input_5
25/80
Input_6
30/80
Input_7
35/80
Input_1
5/80
Input_13
65/80
Input_14
70/80
Input_15
75/80
Input_3
30/80
Input_2
15/80
Input_4
60/80
61
Cull Index
Random Reduce
Factor: Cull Indice
Factor: Reduction
B
ased 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 freedom 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 special component that it control the Nth element of the point list, such as frequency-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
Input_7
35/80
CRITERIA DESIGN
Input_6
30/80
Cull Nth
Factor: Cull frequency
Cull Pattern
Factor: Cull pattern
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.
Input_2
5/80
Input_2
15/80
63
3.25
1.00
DETAILED DESIGN
U Domain
2.0 * Pi
V Domain
1.0 * Pi
B5. TECHNIQUE: PROTOTYPES EXPERIMENT ON KLEVIN SURFACE
R parameter
T parameter
65
ALGORITHMIC FORM EXPERIMENT ON KLEVIN SURFACE
A
fter combining the idea of 3D Voronoi cells and Parametric Klein Surface, a draft model is
created.
CRITERIA DESIGN
3D Voronoi Cell A independent space
67
Voronoi Cell
Specific function
CRITERIA DESIGN
A series of cells Perform different functions
Multi-functional building Variety of activity
69
CRITERIA DESIGN
B6. TECHNIQUE: PROPOSAL N
04:25
21:58
06:54
19:14
13:00
13:00 15:38
08:37 13:00
71
T
o 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.
CRITERIA DESIGN
73
CRITERIA DESIGN
Elev atio
Elev atio
nB
nA
Area: 74,635m2
Site Plan
Scale 1:1000
75
Proposed installation of solar panel
CRITERIA DESIGN
According to the shape of voronoi cells to install small solar cells
Trienergia-solar-panels
77
B7. LEARNING OBJECTIVES AND OUTCOME GO FURTHER @ PART B
CRITERIA DESIGN
G
rasshopper 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 voronoi 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 interesting 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 spatial 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.
79
B8. APPENDIX - ALGORITHMIC SKETCHES
9.00
16.00
1.0
P
x-axis y-axis
X/16 Y/9
1.0
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).
1 point
Two Dimensional
A
x-axis y-axis
CRITERIA DESIGN
1/16 1/9
A
x-axis y-axis
3/16 4/9
A
x-axis y-axis
14/16 7/9
A
x-axis y-axis
6/16 3/9
A
x-axis y-axis
6/16 4/9
A
x-axis y-axis
3/16 3/9
B
x-axis y-axis
10/16 5/9
B
x-axis y-axis
10/16 4/9
B
x-axis y-axis
4/16 4/9
A
x-axis y-axis
1/16 1/9
A
x-axis y-axis
1/16 4/9
A
x-axis y-axis
7/16 8/9
B
x-axis y-axis
15/16 8/9
B
x-axis y-axis
15/16 4/9
B
x-axis y-axis
9/16 1/9
A
x-axis y-axis
1/16 1/9
A
x-axis y-axis
3/16 1/9
A
x-axis y-axis
3/16 1/9
B
x-axis y-axis
4/16 1/9
B
x-axis y-axis
7/16 1/9
B
x-axis y-axis
5/16 2/9
C
x-axis y-axis
1/16 4/9
C
x-axis y-axis
11/16
C
x-axis y-axis
15/16
A
x-axis y-axis
1/16 1/9
A
x-axis y-axis
3/16 1/9
A
x-axis y-axis
1/16 8/9
B
x-axis y-axis
B
x-axis y-axis
3/16 4/9
B
x-axis y-axis
4/16 2/9
C
x-axis y-axis
C
x-axis y-axis
3/16
C
x-axis y-axis
14/16
3 points
2 points
Two Dimensional
15/16 1/9 1/16 8/9
1/9
7/9
3/9
6/9
81
Straight Voronoi Frame
Smooth Voronoi Frame
CRITERIA DESIGN
83
CRITERIA DESIGN
BIBLIOGRAPHY 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 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-enjoyable-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-postmaqianqian-cai/ d3, (2010), FIRST PRIZE Vertical Village: A Sustainable Way of Village-Style Living, Rretrieved from http://www.d3space. org/competitions/
85
C1. DESIGN CONCEPT
The basic form of wave
The flexibility of liquid water
F
or 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 penetrating 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.
DETAILED DESIGN
Penetrating light through water
Sunlight
Wave pattern (regelar/ retangle shape)
Voronoi pattern (irregular/ biological shape)
87
DEVELOPMENT ON ALGORITHMIC FORM EXPERIMENT ON KLEVIN SURFACE
Input of Components
Component 1
+ Component 2
Component 1
96.0
V Division:
91.0
R Parameter:
6.0
T Parameter:
1.0
Scale:
10
Domain 1:
2*Pi
Domain 2:
1*Pi
Input of Final form
Component 2
Final Form of Container
DETAILED DESIGN
U Division:
U Division:
96.0
V Division:
91.0
R Parameter:
6.0
T Parameter:
1.0
Scale:
10
Domain 1:
2*Pi
Domain 2:
2*Pi
Container - Box Container - Klevin Surface
80 Ramdom Points
1400 Ramdom Points
3D Voronoi Cells 3D Voronoi Cells
89
Basic Container
1400 Ramdom Points
1400 Voronoi Cells
Framing the Voronoi Cells
DETAILED DESIGN
F
or the shape of container, Parametric Klein Surface which is one of the components of Lunchbox gaining
my interest. By adjusting the factors of the components, like R parameter, T parameter, 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.
91
SUNPATH ANALYSIS OF LADYBUG Produced by Ladybug 0.0.58
Wh/m2 Hours 573.00<=
15.00<=
516.10
13.50
459.20
12.00
402.30
10.50
345.40
9.00
288.50
7.50
231.60
6.00
174.70
4.50
117.80
3.00
60.90
1.50
<=4.00
<=0.00
Sun-Path Diagram - 10 MAY Latitude: 55.63m Hourly Data: Global Horizontal Radiation (Wh/m2) Copenhagen_DNK
Perspective View
Top View Selected location for solar panel
DETAILED DESIGN
Solar System
Solar Panel
540mm
620mm
Selected Solar Panel
A
Solar Cells
Hexagonal Solar Cells
ccording to the sunpath analysis of Ladybug, i selected the panels
Semi-transparent
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 540mm
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.
620mm
93
Human Scale 1.8m Tall
DETAILED DESIGN
Voronoi Cells/ Space
Corresponding Voronoi cells to solar panels
95
Solar System
According to Ladybug softwave
Voronoi Cells/ Space
Corresponding Voronoi cells to solar panels
Platform slab
Divide to Functional use and Greenary
Circulation
Vertical transportation - Lift
Overview
Combination of components
DETAILED DESIGN
Functional use space Total area: 3, 655m2
Greenery space Total area: 1, 530m2
DESIGN PROPOSAL MULTI-FUNCTIONAL SPACE
W
ith the aid of computation and
slabs. Then, the larger slab-platform
algorithmic softwave, a effective are desgined for functional use: small solar system is created in order
library, resting room, restraurant etc.; and
to maximum the efficency of energy gen-
the smaller slab-platform are designed
eration. Based on the location of solar
for greenery that providing satisfied
panels, the corresponding voronoi cells
environment for visits and user. Since the
is selected for placing slab within them.
slab-platform are based on the sunpath
Five horizontal slab is sectioning the
analysis, there are sufficient sunlight for
voronoi cells and form the irregular floor
plants and vegetation.
97
+6.0m
+9.5m
1st Floor Plan
2nd Floor Plan
Total area: 488m2
0
10
20
30
40
Total area: 843m2
80m
Scale: 1/1750
Cylinder Elevator Diameter: 3.00m
+20.0m +16.5m +13.0m +9.5m +6.0m
DETAILED DESIGN
+13.0m
+16.5m
3rd Floor Plan
4th Floor Plan
Total area: 749m2
T
+20.0m
5th Floor Plan
Total area: 1, 272m2
Total area: 1, 664m2
o the circulation, people can arrive their destinations 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.
5th Floor 4th Floor 3rd Floor 2nd Floor 1st Floor
Elevation A
0
5
10
15
20
40m
Scale: 1/600
99
C2. TECTONIC ELEMENTS AND PROTOTYPES
C
loudland is a architecture constructed by large framing 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 members with threaded end sections, and a connecting member.1
Node Jointing System
Structure Frame of Voronoi Cells
DETAILED DESIGN
4) 5)
PANEL FRAME
STEEL ROD WITH PIT (Diameter: 200mm)
THK.: 400mm
Structural Components
Size (Diameter/ Thinkness)
1)
Steel Node
D: 400mm
2)
Connecting Stick
D: 100mm
3)
Steel Rod
D: 200mm
4)
Steel Rod with Pit
D: 200mm & THK: 100mm
5)
Panel Frame
THK: 400mm
3)
STEEL ROD Diameter: 200mm
1)
STEEL NODE Diameter: 400mm
Tectonic Elements
1
Croucher, Jr. (1989). STRUCTURAL JOINT MEMBERS FOR SPACE FRAME SYSTEM, United States Patent, pp. 1
101
Structural Components
Size (Diameter/ Thinkness)
1)
Steel Node
D: 400mm
2)
Connecting Stick
D: 100mm
3)
Steel Rod
D: 200mm
4)
Steel Rod with Pit
D: 200mm & THK: 100mm
3)
STEEL ROD Diameter: 200mm
DETAILED DESIGN
2)
CONNECTING STICK Diameter: 100mm
Physical Prototype Model 3D Print using Powder 4)
STEEL ROD WITH PIT (Diameter: 200mm)
1)
STEEL NODE Diameter: 400mm
103
C3. FINAL DETAIL MODEL
T
o clearify the interior space of the model, i selected a part that including 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 .
DETAILED DESIGN
3D Section
105
PARTLY SECTIONING MODEL ILLUSTATION OF INTERIOR SPACE AND CIRCULATION
1)
Node Jointing System Steel node and rod
5)
Human scale H: 1.8m
2) 3)
Dia: 3m
4)
Solar Panel THK: 100mm
3D Section Diagram - 01
DETAILED DESIGN
Slab Platform THK: 200mm
Cylinder Elevator
T
he level difference of each floor is
Core Constrcution Elements
Size (Diameter/ Thinkness)
3.5 meters and every slab-platform
1)
Node Joint system
/
is fenced with the glass barrier
2)
Slab Platform
THK: 200mm
to ensure the safety of people. There
3)
Cylinder Elevator
D: 3m
are showing level 1 and level 4 slab-
4)
Solar Panel
/
platform that people can see through
5)
Human figure
H: 1.8m
other level by different angle since there
6)
Glass Barrier
H: 1.1m
are all open space instead of enclosed area to make sure of good ventalition and daylight. People can arrive to different level by the transparent elevators.
6)
Glass Barrier H: 1.1m
Level 4 +16.5m
Level 1 +6.0m
3D Section Diagram - 02
107
Node Jointing System Steel node and rod
PARTLY SECTIONING MODEL ILLUSTATION OF INTERIOR SPACE AND CIRCULATION
DETAILED DESIGN
Cylinder Elevator Dia: 3m
Slab Platform THK: 200mm
Physical model - 01 3D Print using Grey Powder Scale: 1/200
109
Node Jointing System Steel node and rod
PARTLY SECTIONING MODEL ILLUSTATION OF INTERIOR SPACE AND CIRCULATION
DETAILED DESIGN
Cylinder Elevator Dia: 3m
Slab Platform Level 4
Slab Platform Level 1
Physical model - 02 3D Print using Grey Powder
111
CLOUDLAND PUBLIC FUNCTIONAL SPACE
DETAILED DESIGN
Kastellet RING OF BASTIONED RAMPARTS
THE LITTLE MERMAID BRONZE SCULPTURE
113
DETAILED DESIGN
115
CLOUDLAND PERSPECTIVE AT 1PM SUMMER
DETAILED DESIGN
117
CLOUDLAND PERSPECTIVE AT 7PM SUMMER
DETAILED DESIGN
119
C4. LEARNING OBJECTIVES AND OUTCOME
Paving the way
A story start
Incredible programme
DETAILED DESIGN
B
efore 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 paper 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 processing large amount of calculation, like trimming 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
God is in the details
system which is a complex components of Biomimicry that could create complex structures and forms that hardly made by manual thinking. Furthermore, Grasshopper 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 fundaInfinite journey
mental and important skills for upcoming challenges.
121
C5. APPENDIX
STRUCTURAL JOINT MEMBERS FOR SPACE FRAME SYSTEM Andrew V. Kundrat, 1989
Patents Study
U.S. patents on Google
JOINT DEVICE FOR JOINING PRETENSIONED BRACE MEMBER TO CONNECTOR NODES 1N SPACE TRUSS STRUCTURE Carl D. Friedman, 1997
DETAILED DESIGN
Precendent Study
The Metropolitan Museum of Art
CLOUD CITY, 2012 Artist: Tomรกs Saraceno
123
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), Tomรกs Saraceno on the Roof: Cloud City, Rretrieved from http://www.metmuseum. org/saraceno The Metropolitan Museum of Art, (2012), The Installation of Tomรกs 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-skyscraper/ Tomas Kozelsky, Patrick Bedarf, Dimitrie Andrei Stefanescu, (2011), Laminated Wood Skyscraper in Brazil, Rretrieved from http://www.evolo.us/architecture/laminated-wood-skyscraper-in-brazil/
DETAILED DESIGN
125