Journal // Studio Air

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