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Cover design: Wiley

Library of Congress Cataloging-in-Publication Data is available upon request

ISBN: 978-1-119-11562-5

ISBN: 978-1-119-11564-9 (ebk.)

ISBN: 978-1-119-11563-2 (ebk.)

CONTENTS

Cover

Foreword

Acknowledgments

Introduction

Part 1 Architectural Representation and Digital Technologies

Chapter 1 Architectural Drawing
1. 1.1 Drawing and Perception
2. 1.2 Drawing from Observation and Imagination
3. 1.3 Drawing and Projection
4. 1.4 Drawing Methods
5. Endnotes
Chapter 2 Architectural Models
1. 2.1 Physical Models
2. 2.2 3D Models
3. 2.3 Digital Fabrication
4. Endnotes
Chapter 3 Architecture and Computing
1. 3.1 Digital Concepts
2. 3.2 Computing in Architecture
3. 3.3 Developments in 3D Modeling
4. Endnotes

Part 2 3D Modeling and Geometry

Chapter 4 The 3D Modeling Environment
1. 4.1 Surface Types
2. 4.2 The Rhinoceros Interface
3. 4.3 Units and Scale
4. 4.4 Navigation
5. 4.5 Visualization Methods
6. Endnote
Chapter 5 2D Drawing
1. 5.1 Drafting
2. 5.2 Points and Lines
3. 5.3 Curve Control Points
4. 5.4 Working with Lines and Planar Curves
5. Endnotes
Chapter 6 3D Modeling
1. 6.1 Solid Models
2. 6.2 Planar and Space Curves
3. 6.3 Surfaces
4. 6.4 Modeling NURBS Surfaces
5. 6.5 Working with NURBS Surfaces
6. Endnotes
Chapter 7 Generating Linework
1. 7.1 Wireframe Linework
2. 7.2 Contour Linework
3. 7.3 Paneling Linework
4. Endnote

Part 3 Architectural Design Drawings and Graphics

Chapter 8 Generating 2D Projections
1. 8.1 Architectural Projections
2. 8.2 Setting Up a View
3. 8.3 Clipping Planes
4. 8.4 Orthographic Projections
5. 8.5 Axonometric Projections
6. 8.6 Perspective Projections
7. Endnotes
Chapter 9 Architectural Design Drawings
1. 9.1 Linework Overview
2. 9.2 Exporting Linework
3. 9.3 The Adobe Illustrator Interface
4. 9.4 Setting Up the Page
5. 9.5 Line Weights and Line Types
6. 9.6 Lines, Curves, and Shapes
7. 9.7 Color
8. 9.8 Text
9. 9.9 Raster Graphics
10. Endnotes

Part 4 Computational Design

Chapter 10 Parameters and Algorithms
1. 10.1 Parameters and Constraints
2. 10.2 Algorithms
3. Endnotes
Chapter 11 Visual Programming
1. 11.1 The Grasshopper Interface
2. 11.2 Visualization Methods
3. 11.3 Components
4. 11.4 Component Types
5. Endnotes
Chapter 12 Geometric Patterns
1. 12.1 Tessellations
2. 12.2 Spirals
3. 12.3 Pattern Effects
4. Endnotes
Chapter 13 Parametric Modeling
1. 13.1 Parametric Surfaces
2. 13.2 Paneling Surfaces
3. 13.3 Modular Assemblies
4. Endnotes
Chapter 14 Simulations and Data Visualizations
1. 14.1 Simulations
2. 14.2 Environmental Simulations
3. 14.3 Physics Simulations
4. Endnotes
Chapter 15 Robotics and Physical Computing
1. 15.1 Robotics
2. 15.2 Physical Computing
3. 15.3 Arduino Hardware and Software
4. Endnotes

Appendix: Design Drawing and Modeling Exercises

Drawing Exercises
3D Modeling Exercises
Computational Design Exercises

Selected Bibliography

Index

End User License Agreement

List of Illustrations

Chapter 1

Figure 1.1. Paul Klee, In Engelshut (In Angel’s Care), 1931.
Figure 1.2. Gaetano Kaniska, Kanizsa Triangle, 1955. Example of illusory contours.
Figure 1.3. A representation of a block form created by a collection of lines.
Figure 1.4. A representation of a sphere created through the use of tonal values.
Figure 1.5. Álvaro Siza, Architect, Sketch of Machu Pichu.
Figure 1.6. Giovanni Battista Piranesi, Carceri d’Invencione (Imaginary Prisons), Plate XI,...
Figure 1.7. Daniel Libeskind, Leakage, Micromegas series drawing, 1979.
Figure 1.8. Lebbeus Woods, Photon Kite, from the series Centricity, 1988. Architectural dra...
Figure 1.9. Leonardo Da Vinci, The Proportions of the Human Body According to Vitruvius, c....
Figure 1.10. Piero della Francesca, Projection of a Human Head, from De Prospective Pingendi...
Figure 1.11. Albrecht Dürer, Man Drawing a Lute, 1525.
Figure 1.12. Étienne-Louis Boullée, Restauration de la Bibliothéque Nationale (Restoration o...
Figure 1.13. Carme Pinós, Cube I Office Tower, Guadalajara, Mexico, 2002–2005. Sketch drawin...
Figure 1.14. Frank O. Gehry, Guggenheim Museum Bilbao. Hand sketch.
Figure 1.15. Bronze spline weights, Edson International, New Bedford, MA.
Figure 1.16. Eero Saarinen and Associates, Trans World Airlines Terminal Building, New York,...
Figure 1.17. Eero Saarinen and Associates, Trans World Airlines Building Terminal, New York,...
Figure 1.18. Félix Candela, Plan and elevation projection drawings of hyperbolic paraboloid ...
Figure 1.19. Félix Candela, Los Manantiales Restaurant, Xochimilco, Mexico City, Mexico, 195...
Figure 1.20. Farshid Moussavi and Alejandro Zaera-Polo, Foreign Office Architects, Yokohama ...
Figure 1.21. Farshid Moussavi and Alejandro Zaera-Polo, Foreign Office Architects, Yokohama ...
Figure 1.22. Gehry Partners, LLP, Marqués de Riscal Winery, Elciego, Spain, 2003-2006. Floor...
Figure 1.23. Young & Ayata, Symmetry Series, 2013. Computational drawing.
Figure 1.24. Zaha Hadid Architects, Kartal-Pendik Masterplan, Istanbul, Turkey, 2006. Simula...
Figure 1.25. Zaha Hadid Architects, Kartal-Pendik Masterplan, Istanbul, Turkey, 2006. Site p...

Chapter 2

Figure 2.1. Cattedrale di Santa Maria del Fiore, Florence, Italy, dome, c.1420-46, Filippo ...
Figure 2.2. Antoni Gaudí, Basilica i Temple Expiatori de la Sagrada Familia, Barcelona, Spa...
Figure 2.3. Antoni Gaudí, Basilica i Temple Expiatori de la Sagrada Familia, Barcelona, Spa...
Figure 2.4. Eero Saarinen and Associates, Trans World Airlines Terminal Building, New York,...
Figure 2.5. Frei Otto, Tranzbrunnen (Dance Pavilion), Cologne, Germany, 1957. Soap film mod...
Figure 2.6. Gehry Partners, LLP, Marques de Riscal Winery, Elciego, Spain, 2003-2006. Physi...
Figure 2.7. BIG-Bjarke Ingles Group, Humanhattan 2050. Design for NYC waterfront. Physical ...
Figure 2.8. Jason Kelly Johnson and Nataly Gattegno, Future Cities Lab, Xerohouse, Phoenix,...
Figure 2.9. COOP HIMMELB[L]AU, BMW Welt, Munich, Germany, 2001–2007. Axonometric view of th...
Figure 2.10. Parametric model used to generate multiple formal iterations by modifying varia...
Figure 2.11. Greg Lynn FORM, Embryological House. Rendering of the volumetric components.
Figure 2.12. James Carpenter Design Associates, Grimshaw, and Arup, Sky Reflector Net, Fulto...
Figure 2.13. Nancy Diniz and Frank Melendez, Augmented Architectures, “Bio Simulations,” 201...
Figure 2.14. Institute for Advanced Architecture of Catalonia (IaaC), Global Summer School, ...
Figure 2.15. Mara Marcu and Ming Tang, MMXIII and TYA Design, Augmented Coral, 2016. Mixed r...
Figure 2.16. Perkins+Will, Thornton Tomasetti, and the University of Cambridge, River Beech ...
Figure 2.17. Gehry Partners, LLP, Marques de Riscal Winery, Elciego, Spain, 2003-2006. Digit...
Figure 2.18. Institute for Advanced Architecture of Catalonia (IaaC), Global Summer School, ...
Figure 2.19. MYND Workshop, Colorized Point Cloud of Brooklyn Building, New York. 3D laser s...
Figure 2.20. Topographic site model, laser-cut foam core sheets stacked to create a physical...
Figure 2.21. Nancy Diniz and Frank Melendez, Augmented Architectures, Embryonic Spaces, 2016...
Figure 2.22. CNC milled laminated particle board, showing the rough cut and final cut.
Figure 2.23. Yeliz Karadayi and Esra Aras, Digital Nouveau, 2014. Screenshot of the CNC tool...
Figure 2.24. Yeliz Karadayi and Esra Aras, Digital Nouveau, 2014. Resin cast from the CNC mi...
Figure 2.25. MakerBot Replicator desktop 3D printer, printing a model with PLA plastic.
Figure 2.26. Elena Pérez Guembe and Rosana Rubio-Hernández, Mille-oeille, 2008. 3D print of ...
Figure 2.27. Nancy Diniz and Frank Melendez, Augmented Architectures, Body Architectures, 20...
Figure 2.28. Mediated Matter Group, MIT Media Lab, G3DP: additive manufacturing of optically...
Figure 2.29. Mediated Matter Group, MIT Media Lab, G3DP: additive manufacturing of optically...
Figure 2.30. Parametric Patterns, Plastic 3D Drawings, 2017. Plastic 3D drawings created by ...
Figure 2.31. Yeliz Karadayi, Guided Hand, 2016. A 3D printing pen used with the Geomagic Tou...
Figure 2.32. Armand Graham, Timbr, 2016. Robotic arm using a drill bit end effector to fabri...
Figure 2.33. Gramazio Kohler Research, ETH Zürich, Gantenbeim Vineyard Facade, 2006, Fläsch ...
Figure 2.34. Gramazio Kohler Architects, Gantenbeim Vineyard Facade, 2006, Fläsch Switzerlan...

Chapter 3

Figure 3.1. Cartesian coordinate system, 2D.
Figure 3.2. Cartesian coordinate system, 3D.
Figure 3.3. Linework from a raster graphic image with a portion of the polyline scaled up t...
Figure 3.4. Linework from a vector graphic image with a portion of the polyline scaled up t...
Figure 3.5. Ivan Sutherland, Sketchpad, 1963. Massachusetts Institute of Technology.
Figure 3.6. Atari’s Battlezone, 1980.
Figure 3.7. The tree in Dessault Systèmes CATIA V5.
Figure 3.8. The feature table in Bentley’s GenerativeComponents.
Figure 3.9. The symbolic diagram in Bentley’s GenerativeComponents.
Figure 3.10. Visual programming components in Grasshopper for Rhino.
Figure 3.11. Gehry Partners, LLP, Walt Disney Concert Hall, Los Angeles, CA (completed) 2003...

Chapter 4

Figure 4.1. Mesh models of spheres consisting of a various number of polygons, from a low p...
Figure 4.2. A comparison between a polygon sphere and a NURBS sphere: polygon sphere with t...
Figure 4.3. The Rhino 6 for Windows interface.
Figure 4.4. Rhino Main Menus, Curve drop-down menu, and Line submenu.
Figure 4.5. Rhino Command line. A list of the command prompts and options used to create a ...
Figure 4.6. Rhino tabs and toolbars.
Figure 4.7. Rhino main toolbar and tool icons.
Figure 4.8. Rhino Panels, Properties tab.
Figure 4.9. Rhino Panels, Layers tab.
Figure 4.10. Rhino viewports, consisting by default of Top, Front, Right, and Perspective vi...
Figure 4.11. Rhino modeling aids.
Figure 4.12. Rhino Document Properties and Options window.
Figure 4.13. Rhino viewport visualization methods: wireframe (left), shaded (middle), and re...

Chapter 5

Figure 5.1. Various points on the XY plane and their Cartesian coordinate values.
Figure 5.2. Two points in 3D space to define a line segment.
Figure 5.3. The division of a line segment into two line segments (left) and ten line segme...
Figure 5.4. The generation of points from a NURBS surface.
Figure 5.5. MYND Workshop, Central Park & Sheep Meadow: Capturing New Yorkers and Their Par...
Figure 5.6. Example of an open polyline (top) and a closed polyline (bottom).
Figure 5.7. Examples of closed, two-dimensional polylines that form polygonal shapes.
Figure 5.8. Examples of open, two-dimensional polylines.
Figure 5.9. Digitally drafted linework of Ludwig Mies van der Rohe’s Barcelona Pavilion.
Figure 5.10. Examples of Bézier curves with increasing numbers of control points (from left ...
Figure 5.11. Example of a two-point Bézier curve.
Figure 5.12. Example of a three-point Bézier curve.
Figure 5.13. Example of a four-point Bézier curve.
Figure 5.14. Example of a NURBS curve modified by increasing and decreasing the weight param...
Figure 5.15. The Curve command icon in Rhino.
Figure 5.16. The InterpCrv command icon in Rhino.
Figure 5.17. The PointsOn command icon in Rhino.
Figure 5.18. Example of modifying a 2D curve in the XY plane into a 3D curve by moving contr...
Figure 5.19. The three primary construction planes are the World XY CPlane, XZ CPlane, and Y...
Figure 5.20. The Modeling Aids toolbar in Rhino.
Figure 5.21. The Object Snap (Osnap) toolbar in Rhino allows for geometrical constraints to ...
Figure 5.22. Transformation tools (left to right): Move, Rotate, Scale 1D, and Scale 2D comm...
Figure 5.23. The Move command can be used to reposition objects in the modeling space.
Figure 5.24. The Move command can be used to reposition “control points” to modify a line, p...
Figure 5.25. The Rotate command can be used to rotate objects around a specified “center of ...
Figure 5.26. The Scale command can be used to scale objects in 1D, 2D, and 3D from a specifi...
Figure 5.27. The Gumball widget provides an interactive method for applying transformations....
Figure 5.28. Replication tools (left to right): Copy, Mirror, Offset, Array, ArrayPolar, and...
Figure 5.29. The Copy command can be used to replicate identical copies of objects in variou...
Figure 5.30. The Mirror command can be used to reflect an object along an axis.
Figure 5.31. The Offset command can be used to copy a curve to either side of the original c...
Figure 5.32. The Array and ArrayPolar commands can be used to generate multiple identical co...
Figure 5.33. The TweenCurves command can be used to generate a specified number of iterative...
Figure 5.34. Editing tools (left to right): Trim, Split, Extend, Fillet, and Chamfer command...
Figure 5.35. Sequence of steps for trimming lines and curves to specified cutting objects.
Figure 5.36. Sequence of steps for extending lines and curves to specified boundary objects....
Figure 5.37. Sequence of steps for filleting lines and curves.
Figure 5.38. Sequence of steps for chamfering lines and curves.

Chapter 6

Figure 6.1. Carlo Scarpa, Brion-Vega Cemetery, San Vito d’Altivole, Italy, wall detail.
Figure 6.2. Louis Isadore Kahn, Yale Center for British Art, New Haven, 1977 (completed). C...
Figure 6.3. Solid geometrical forms.
Figure 6.4. Solids tools: (a) Box, (b) Sphere, (c) Cone, and (d) Cylinder command icons in ...
Figure 6.5. Billy Guarino, 3D model of West Hollywood. Urban massing model and rendering us...
Figure 6.6. A surface defined by points and line segments.
Figure 6.7. A solid defined by points, line segments, and surfaces.
Figure 6.8. Moon Hoon Architect, Two Moon, South Korea.
Figure 6.9. Boolean operations applied to a cube and a pyramid (left to right): Boolean uni...
Figure 6.10. Boolean tools: (a) Boolean union, (b) Boolean difference, and (c) Boolean inter...
Figure 6.11. Examples of planar curves.
Figure 6.12. Examples of space curves.
Figure 6.13. A line segment with two control points on the XY CPlane, modified to a line seg...
Figure 6.14. A line segment rebuilt with four control points on the XY CPlane, and modified ...
Figure 6.15. A planar curve with control points on the XY CPlane can be transformed into a 3...
Figure 6.16. Ludwig Mies van de Rohe, The Barcelona Pavilion, 1929.
Figure 6.17. Gehry Partners, LLP, Walt Disney Concert Hall, Los Angeles, CA, (completed) 200...
Figure 6.18. Felix Candela, Los Manantiales Restaurant, Xochimilco, Mexico City, Mexico, 195...
Figure 6.19. Frei Otto, Tranzbrunnen (Dance Pavilion), Cologne, Germany, 1957. Tensile struc...
Figure 6.20. Zaha Hadid Architects, Dongdaemun Design Plaza, Seoul, South Korea, 2007-2013. ...
Figure 6.21. Extruded surface: curve profiles extruded parallel to the direction of the Z ax...
Figure 6.22. Translational surface: a profile curve (circle) swept along a single path curve...
Figure 6.23. Translational surface: a profile curve (parabola) rotated around an axis.
Figure 6.24. Lofted surface: three profile curves lofted to create a doubly curved surface.
Figure 6.25. Heightfield surface: a grayscale bitmap image (left) used to assign Z values to...
Figure 6.26. A local construction plane positioned normal to the endpoint of a curve.
Figure 6.27. Analyzing the direction of a curve.
Figure 6.28. Surface U and V values “normalized” to a domain range of 0 to 1.
Figure 6.29. The U and V control points of a surface displayed.
Figure 6.30. The Rebuild Surface dialog box in Rhino.
Figure 6.31. Increasing the number of U and V control points and isocurves of a surface.
Figure 6.32. 3D rotation of a cuboid form around a specified axis.
Figure 6.33. 3D Transformation tools: (a) Rotate 3D and (b) Scale 3D command icons in Rhino....
Figure 6.34. Transformations applied to a selected set of surface control points (left to ri...
Figure 6.35. Surface replication with ArrayPolar.
Figure 6.36. Surface replication between two specified surfaces using Tween surfaces.
Figure 6.37. Creating a Cage Edit lattice around a selected set of surfaces (left) and trans...

Chapter 7

Figure 7.1. Paulo Uccello, Perspective Study of a Chalice, pen and ink on paper, 15th centu...
Figure 7.2. Architectures David Tajchman, Stealth, New Maribor Museum, 2010. Wireframe draw...
Figure 7.3. Rebuilding the same surface with various U and V values and displaying the surf...
Figure 7.4. Curve extraction tools: (a) Extract Wireframe and (b) Extract Isocurve command ...
Figure 7.5. Estudio Carme Pinós, Pizota Hotel, Puerto Vallarta, Mexico, 2004. Site plan dra...
Figure 7.6. 3D model of a site landscape with topography “contours” generated at consistent...
Figure 7.7. Curve Extraction tools: Contour command icon in Rhino
Figure 7.8. A site plan representing elevations in a landscape topography with contour line...
Figure 7.9. COOP HIMMELB[L]AU, BMW Welt, Munich, Germany, 2001–2007. Photo: Duccio Malagamb...
Figure 7.10. Surfaces panelized as (left to right) quad, triangular, diagonal, and diamond p...
Figure 7.11. The Flow Along Surface command icon in Rhino.
Figure 7.12. Two-dimensional patterns on planar surfaces (right) can be transferred to other...

Chapter 8

Figure 8.1. Multi-view drawing: plan and elevations. Drawing by Valeryia Pilchuk. Instructo...
Figure 8.2. Moon Hoon, elevation drawing of Two Moon, Seoul, South Korea, 2015.
Figure 8.3. Plan and section drawings of cuboid objects. Drawing by Christopher Lin. Instru...
Figure 8.4. Estudio Carme Pinós, floor plan drawing of sports center and indoor and outdoor...
Figure 8.5. Grimshaw, International Terminal, Waterloo, London, UK, section drawing through...
Figure 8.6. Auxiliary view used to describe the true length and shape of the triangular sid...
Figure 8.7. Matt Hutchinson, Descriptive geometry study of view relationships: inclined vie...
Figure 8.8. Axonometric drawings of an architectural massing model.
Figure 8.9. Axonometric drawings and analysis of the Villa Shodhan by Le Corbusier. Drawing...
Figure 8.10. One-point perspective drawing.
Figure 8.11. Paul Rudolph, School of Architecture, Yale University, New Haven, 1958.
Figure 8.12. Two-point perspective drawing generated from a plan and elevation. Drawing by B...
Figure 8.13. Frank Lloyd Wright, Fallingwater, Mill Run, Pennsylvania, 1914. Two-point persp...
Figure 8.14. Zaha Hadid Architects, Vitra Fire Station, Weil am Rhein, Germany, 1990–1993. A...
Figure 8.15. The camera attributes displayed in relation to the digital model (left) and the...
Figure 8.16. A horizontal clipping plane and the resulting visualization of the cut through ...
Figure 8.17. The Clipping Plane command icon in Rhino.
Figure 8.18. Plan, section, and axonometric drawings through a solid (stereotomic) model pro...
Figure 8.19. Orthographic projections of a 3D model: top, front, and right elevations.
Figure 8.20. The Make2D command icon in Rhino.
Figure 8.21. The 2D Drawing Options dialogue box.
Figure 8.22. The orthographic projection (roof plan), of a 3D digital model of the Barcelona...
Figure 8.23. The Clipping Plane tool translated in the -Y direction in order to visualize a ...
Figure 8.24. An orthographic projection (transverse section) generated from a clipping plane...
Figure 8.25. A 3D model projected onto a plane that is not orthogonal to the model in order ...
Figure 8.26. Diagram illustrating the angular relationships of a cube in an isometric projec...
Figure 8.27. Exploded axonometric projection of a 3D model of the Barcelona Pavilion.
Figure 8.28. A diagram based on Leon Battista Alberti’s system for creating perspective proj...
Figure 8.29. A one-point perspective projection of a 3D model of the Barcelona Pavilion illu...
Figure 8.30. The Viewport (Camera) Properties dialog box in Rhino.
Figure 8.31. A two-point perspective projection of a 3D model of the Barcelona Pavilion illu...

Chapter 9

Figure 9.1. Daniel Libeskind, “Chamber Works I-H,” series drawing, 1983.
Figure 9.2. Brittany Utting and Daniel Jacobs, Alcova, 2014. Floor plan drawing.
Figure 9.3. Neil M. Denari Architects, Tokyo International Forum Competition, 1989. Plan/se...
Figure 9.4. The Layers tab and settings in Rhino.
Figure 9.5. The Select Layer Color dialog box in Rhino.
Figure 9.6. Example of using Layers to organize modeled objects, and the Visible and Hidden...
Figure 9.7. The Rhino 6 for Windows interface with exported objects selected and the Top vi...
Figure 9.8. Export dialog box with “Save as type” option set to Adobe Illustrator (*.ai).
Figure 9.9. Adobe Illustrator Export Options dialog box.
Figure 9.10. Export dialog box with “Save as type” option set to AutoCAD Drawing (*.dwg).
Figure 9.11. AutoCAD DWG/DXF Export Options dialog box.
Figure 9.12. AutoCAD interface with the imported objects viewed in the modeling space Top vi...
Figure 9.13. Print Setup dialog box in Rhino.
Figure 9.14. Destination settings.
Figure 9.15. View and Output Scale settings.
Figure 9.16. The list of standard architecture and engineering scale options in Rhino.
Figure 9.17. The New Layout command icon in Rhino.
Figure 9.18. The New Layout dialog box in Rhino.
Figure 9.19. A new Page and its associated settings in the Properties tab.
Figure 9.20. The Modify Layout dialog box Rhino.
Figure 9.21. Specifying the drawing scale in the Properties tab.
Figure 9.22. Activating the Detail View (Model Space) from the Page view.
Figure 9.23. The Print Setup dialog box in Rhino.
Figure 9.24. The View and Output Scale dialog box in Rhino.
Figure 9.25. The Adobe Illustrator CC interface.
Figure 9.26. The Adobe Illustrator Interface: Application Bar (Main Menus).
Figure 9.27. The Adobe Illustrator Interface: Control Panel.
Figure 9.28. The Adobe Illustrator interface: Workspace Switcher.
Figure 9.29. The Adobe Illustrator interface: Tools Panel.
Figure 9.30. The Adobe Illustrator interface: Panel Tabs and Groups.
Figure 9.31. The New Document window in Adobe Illustrator.
Figure 9.32. Example of a drawing extending beyond the limits of the Artboard.
Figure 9.33. Example of resizing the Artboard to fit the drawing.
Figure 9.34. The Selection Tool icon in Adobe Illustrator.
Figure 9.35. Selecting and moving the objects to center the drawing within the Artboard.
Figure 9.36. The Layers panel in Adobe Illustrator.
Figure 9.37. The Stroke and Fill color icons in Adobe Illustrator.
Figure 9.38. The Color Picker window in Adobe Illustrator.
Figure 9.39. Linework objects selected and assigned black and grayscale colors to strokes, a...
Figure 9.40. The Stroke panel in Adobe Illustrator.
Figure 9.41. Stroke Weights ranging from .25 pt (top) to 5 pt (bottom) values.
Figure 9.42. Various line types created with the Stroke Dashed Line option checked, and by u...
Figure 9.43. Dash options: Preserve (left) and Adjust (right).
Figure 9.44. The Stroke Corner options (left to right): Miter Join, Round Join, and Bevel Jo...
Figure 9.45. Strokes with Butt Cap and Bevel corners applied to segmented paths (left) and j...
Figure 9.46. Glenn Murcutt, Marika-Alderton House, floor plan. Digital drawing reproduced by...
Figure 9.47. Glenn Murcutt, Marika-Alderton House, floor plan, section, and elevations. Digi...
Figure 9.48. Paths created with the Line Segment and Pen tools in Adobe Illustrator (left to...
Figure 9.49. The Line Segment Tool icon and expanded tool options in Adobe Illustrator.
Figure 9.50. The Line Segment Tool Options window in Adobe Illustrator.
Figure 9.51. The Pen Tool icon and expanded tool options in Adobe Illustrator.
Figure 9.52. Sequence for creating and closing a polygon shape created with the Pen tool.
Figure 9.53. The Select Tool (left) and Direct Select Tool (right) icons in Adobe Illustrato...
Figure 9.54. Example of transforming a line segment into a curve by adding, moving, and conv...
Figure 9.55. The Rectangle Tool icon and expanded tool options in Adobe Illustrator.
Figure 9.56. The Blend Tool icon in Adobe Illustrator.
Figure 9.57. A previewed collection of new paths generated in between two select paths using...
Figure 9.58. The Blend Options window in Adobe Illustrator.
Figure 9.59. A Blend between two polylines.
Figure 9.60. A Blend that is modified by converting anchor points to transform the polyline ...
Figure 9.61. A Blend that is modified by changing the Stroke colors of the polyline and curv...
Figure 9.62. The Stroke Width tool in Adobe Illustrator.
Figure 9.63. A Stroke line segment with a variable width from one endpoint to the other (top...
Figure 9.64. Stroke panel Arrowhead options and settings.
Figure 9.65. Example of arrowheads applied to blended strokes with variable widths.
Figure 9.66. RGB color model.
Figure 9.67. The Color Picker window in Adobe Illustrator.
Figure 9.68. Apply the None (transparent) option to remove a color value from the Stroke and...
Figure 9.69. Various combinations of Stroke and Fill colors (and transparent) applied to ope...
Figure 9.70. Le Corbusier, Villa Shodhan. Elevations and analytical figure/ground drawings i...
Figure 9.71. The Gradient panel.
Figure 9.72. The Gradient panel with a custom gradient.
Figure 9.73. The Swatch panel in Adobe Illustrator.
Figure 9.74. Examples of default and custom gradients applied to Strokes and Fills.
Figure 9.75. A custom gradient applied to a blend of Strokes with arrowheads.
Figure 9.76. The Transparency panel with the drop-down menu of preset Opacity percentage opt...
Figure 9.77. Glenn Murcutt, Marika-Alderton House. Speculative analysis drawings of summer (...
Figure 9.78. Glenn Murcutt, Marika-Alderton House. Speculative analysis drawings of wind flo...
Figure 9.79. The Type Tool icon and expanded tool options in Adobe Illustrator.
Figure 9.80. The Area Type method adjusts text to the limits of the specified area box.
Figure 9.81. The Point Type method scales and stretches the text to the limits of the adjust...
Figure 9.82. Serif (left) and sans serif (right) fonts.
Figure 9.83. The Character and Paragraph panels in Adobe Illustrator.
Figure 9.84. Example of text using the Type Along Path Tool.
Figure 9.85. Examples of using various Stroke and Fill colors with text.
Figure 9.86. Text placed over a rectangular shape with a gradient fill of various colors.
Figure 9.87. Creating Outlines of the text.
Figure 9.88. Creating a Clipping Mask to use the background gradient image as the text fill....
Figure 9.89. Louis Sullivan, Bayard-Condict Building. Photograph of the terra-cotta ornament...
Figure 9.90. Louis Sullivan, Bayard-Condict Building. Photograph of the terra-cotta ornament...
Figure 9.91. Gian Lorenzo Bernini, Ecstasy of Saint Teresa. Comparisons of the original phot...
Figure 9.92. Gian Lorenzo Bernini, Ecstasy of Saint Teresa. Comparisons of the original phot...
Figure 9.93. Imagery used to enhance an architectural section drawing with site and landscap...

Chapter 10

Figure 10.1. Parametric variations of a curve generated by moving the control points CP02 an...
Figure 10.2. Greg Lynn Form, Embryological House, Los Angeles. Drawing of the spline matrix....
Figure 10.3. Parametric variations of a surface that is lofted between two circles (C1 and C...
Figure 10.4. Example of a cuboid form that is copied and incrementally rotated using an algo...

Chapter 11

Figure 11.1. The Grasshopper command icon in Rhino.
Figure 11.2. The Grasshopper interface.
Figure 11.3. The Grasshopper Main Menu and expanded Edit menu.
Figure 11.4. The Grasshopper Component Tabs and Panels. Courtesy of the author..
Figure 11.5. The Grasshopper Canvas toolbars and Canvas with components.
Figure 11.6. The Grasshopper Display menu.
Figure 11.7. The Grasshopper Document Preview Settings dialog box.
Figure 11.8. The component text and icon graphic options can be changed in the Display menu:...
Figure 11.9. The structure of a Grasshopper component.
Figure 11.10. The color-coding system used to display the status of a component in Grasshoppe...
Figure 11.11. The wiring workflow in Grasshopper.
Figure 11.12. Various Point and Curve components in Grasshopper.
Figure 11.13. Various Surface and Solid Model components in Grasshopper.
Figure 11.14. Various Transformation components in Grasshopper.
Figure 11.15. Various Replication components in Grasshopper.
Figure 11.16. Various geometric parameter components in Grasshopper.
Figure 11.17. The point parameter component options.
Figure 11.18. A definition in Grasshopper (right) with the resulting geometry previewed in th...
Figure 11.19. The Bake command in Grasshopper.
Figure 11.20. The Number Slider component in Grasshopper.
Figure 11.21. The Slider component window and settings.
Figure 11.22. A Domain component with its output values displayed in a Panel component.
Figure 11.23. A Series component with its output values displayed in Panel component.
Figure 11.24. A Range component with its output values displayed in a Panel component.
Figure 11.25. A Construct Point component with an X value that is defined by the default valu...
Figure 11.26. A Construct Point defined by a series of X values previewed in the Rhino 3D mod...
Figure 11.27. A Construct Point component with X and Y values that are defined by the default...
Figure 11.28. A Construct Point defined by a series of X and Y values previewed in the Rhino ...
Figure 11.29. A Construct Point component with X and Y values that are defined by the cross-r...
Figure 11.30. A Construct Point defined by a cross-referenced series of X and Y values, previ...
Figure 11.31. A Cull Pattern component using Boolean values to remove (false) and maintain (t...
Figure 11.32. A Construct Point defined by a cross-referenced series with a Cull Pattern to c...
Figure 11.33. A Grasshopper definition for a sine wave based on a Grasshopper definition by D...
Figure 11.34. The Expression Designer window in Grasshopper.
Figure 11.35. Variations of a parametrically defined sine wave with different amplitude value...
Figure 11.36. The Graph Mapper component in Grasshopper.
Figure 11.37. The Graph Editor window in Grasshopper.
Figure 11.38. A Construct Point defined by a Graph Mapper previewed in the Rhino 3D modeling ...

Chapter 12

Figure 12.1. Grimshaw, Arup, and James Carpenter Design Associates, Sky Reflector Net, Fulto...
Figure 12.2. Examples of geometric patterns (left to right): hexagonal, radial, square, rect...
Figure 12.3. The Rectangular Grid component with various input parameters.
Figure 12.4. Parametric variations of a Rectangular Grid pattern.
Figure 12.5. Elegant Embellishments, “prosolve 370e” system applied to the Torre de Especial...
Figure 12.6. Elegant Embellishments, “prosolve 370e” system applied to the Torre de Especial...
Figure 12.7. The Voronoi tessellation pattern of a dragonfly wing.
Figure 12.8. A diagram of the geometry of the Voronoi pattern (left to right): a collection ...
Figure 12.9. The Voronoi component in Grasshopper.
Figure 12.10. A Voronoi tessellation pattern generated with Rhino and Grasshopper.
Figure 12.11. Visible light image of Tropical Cyclone Joalane captured by the MODIS instrumen...
Figure 12.12. Archimedean spiral patterns on the Ionic capital of a Greek column.
Figure 12.13. Diagram of a spiral based on the Fibonacci series and generated in Grasshopper....
Figure 12.14. The phyllotaxis spiral pattern of the Aloe polyphylla.
Figure 12.15. A phyllotaxis spiral pattern based on the Fibonacci spiral sequence.
Figure 12.16. A Grasshopper definition for generating a spiral using the Fibonacci sequence.
Figure 12.17. The Archimedean spiral.
Figure 12.18. A Grasshopper definition for generating a spiral pattern that is combined with ...
Figure 12.19. Multiple versions of a phyllotaxis spiral pattern generated by combining a Fibo...
Figure 12.20. Francesco Borromini, San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641. Ph...
Figure 12.22. A Grasshopper definition producing a series of boxes along the X axis.
Figure 12.23. A series of boxes generated along the X axis.
Figure 12.24. A Grasshopper definition producing a series of boxes along the X axis that rota...
Figure 12.25. A series of boxes generated along the X axis that rotate incrementally from the...
Figure 12.26. A Grasshopper definition producing a series of boxes along the X axis that rota...
Figure 12.27. A series of boxes generated along the X axis that rotate and scale incrementall...
Figure 12.28. Drawings of different versions of a series of boxes parallel to the X and Y axi...
Figure 12.29. MAD Architects, Sinosteel International Plaza (Tianjin), Beijing, China. Render...
Figure 12.30. MAD Architects, Sinosteel International Plaza (Tianjin), Beijing, China. Elevat...
Figure 12.31. A Grasshopper definition for a hexagonal pattern that varies in scale based on ...
Figure 12.32. Drawings of different versions of a hexagonal pattern modified by placing the p...

Chapter 13

Figure 13.1. A preview of two similar parametric models generated with two different methods...
Figure 13.2. A Grasshopper definition with variable parameters used to generate a lofted sur...
Figure 13.3. A Grasshopper definition with two curve parameters referenced from the Rhino 3D...
Figure 13.4. A Grasshopper definition for panelizing a surface into diamond-shaped cells.
Figure 13.5. A preview of models that demonstrate the steps of panelizing a surface into dia...
Figure 13.6. A drawing of the top, side, and unrolled surface views for three versions of a ...
Figure 13.7. A Grasshopper definition for generating a hexagonal pattern that is mapped to a...
Figure 13.8. A preview of two surfaces with hexagonal patterns. The hexagonal patterns on th...
Figure 13.9. A drawing of a curved surface that is mapped with two different hexagonal patte...
Figure 13.10. Erwin Hauer Studios, Design 1, 1950. Architectural screen, Showroom of Knoll In...
Figure 13.11. Erwin Hauer Studios, Design 1, 1950. Architectural screen (detail), Showroom of...
Figure 13.12. Jeremy Ficca, Pinch Wall. Photograph of the installation.
Figure 13.13. Jeremy Ficca, Pinch Wall. Exploded axonometric drawing (detail).
Figure 13.14. A Grasshopper definition for generating modular geometry on a surface with a Bo...
Figure 13.15. A preview of models that demonstrate the steps in replicating a modular geometr...
Figure 13.16. A blend between two different components.
Figure 13.17. A Grasshopper definition with Paneling Tools, used to generate modules that ble...
Figure 13.18. A lofted surface divided into grid points, a curve attractor, and two different...
Figure 13.19. Axonometric drawing of a regular grid pattern populated with two module types t...
Figure 13.20. Plan drawing of a regular grid pattern populated with two module types that ble...
Figure 13.21. A Grasshopper definition with Paneling Tools, used to generate modules that ble...
Figure 13.22. Axonometric drawing of a regular grid pattern populated with two module types t...
Figure 13.23. Plan drawing of a regular grid pattern populated with two module types that ble...

Chapter 14

Figure 14.1. The full flight simulator manufactured by Thales Training and Simulation.
Figure 14.2. James Carpenter Design Associates, Grimshaw, and Arup, Sky Reflector Net, 2014,...
Figure 14.3. The Ladybug component tab and expanded component panel.
Figure 14.4. The Ladybug component and attached panel component.
Figure 14.5. The Ladybug download EPW component and Boolean toggle used to activate the EPW ...
Figure 14.6. EPW map, Ladybug tools. Interface for accessing free EPW weather files.
Figure 14.7. EPW map pop-up window with download and URL link.
Figure 14.8. The Ladybug Import EPW component and definition for accessing the weather data....
Figure 14.9. The Ladybug 3D chart component and definition for visualizing dry bulb temperat...
Figure 14.10. Ladybug 3D chart data visualization of annual dry bulb temperature (C), Berlin,...
Figure 14.11. The Ladybug_Sun Path component and definition for visualizing the solar path wi...
Figure 14.12. The Ladybug Sun Path visualization and simulation for a specified analysis peri...
Figure 14.13. Continuation of the Sun Path definition using the Ladybug_Sunlight Hours Analys...
Figure 14.14. A solar/shadow visualization and simulation used to study the massing of a buil...
Figure 14.15. James Carpenter Design Associates, Grimshaw, and Arup, Sky Reflector Net, 2014,...
Figure 14.16. SOFTlab, Ventricle, Southbank Centre, London. Photo by Alan Tansey.
Figure 14.17. Mode Lab, Form, Force, Matter, 2012. Matrix of mesh relaxations using physics-b...
Figure 14.18. A Grasshopper and Kangaroo definition for simulating a relaxed surface.
Figure 14.19. Iterations of a relaxed surface simulated with Kangaroo.
Figure 14.20. Swarm simulation within a specified boundary. Drawing and simulation by Miguel ...

Chapter 15

Figure 15.1. KUKA robots on an automobile assembly line, 2013.
Figure 15.2. José Pedro Sousa, Hestnes Column, 2015. Digital Fabrication Laboratory (DFL), C...
Figure 15.3. José Pedro Sousa, Hestnes Column, 2015. Digital Fabrication Laboratory (DFL), C...
Figure 15.4. José Pedro Sousa, Hestnes Column, 2015. Digital Fabrication Laboratory (DFL), C...
Figure 15.5. robotlab, “profiler,” 2004. Collage of human silhouettes captured with the robo...
Figure 15.6. robotlab, “profiler,” 2004. Collage of human silhouettes drawn by the robot (de...
Figure 15.7. Artist Mark Parsons @ Consortium for Research and Robotics, Pratt Institute, 4D...
Figure 15.8. Jason Kelly Johnson and Nataly Gattegno, Future Cities Lab, Metabot Zoo, 2014. ...
Figure 15.9. Alan Cation and Clayton Muhleman, Swarmscapers, 2014. Autonomous robot prototyp...
Figure 15.10. Alan Cation and Clayton Muhleman, Swarmscapers, 2014. Autonomous robot 3D-print...
Figure 15.11. Diagram of a feedback loop.
Figure 15.12. Philip Beesley, Living Architecture Systems Group, Hylozoic Ground, 2010, Canad...
Figure 15.13. Behnaz Farahi, Alloplastic Architecture, 2012. Adaptive tensegrity structure th...
Figure 15.14. Behnaz Farahi, Caress of the Gaze, 2015. Interactive 3D-printed gaze-actuated w...
Figure 15.15. Institute for Advanced Architecture of Catalonia (IaaC), Global Summer School, ...
Figure 15.16. Nancy Diniz, Interactive Artifacts, 2014. Exhibited at Design and Research: Sha...
Figure 15.17. Nancy Diniz and Frank Melendez, Augmented Architectures, Soft Robotic Architect...
Figure 15.18. The Arduino Uno microcontroller.
Figure 15.19. The Arduino IDE.
Figure 15.20. The Arduino Uno microcontroller. Organization of the various parts and elements...
Figure 15.21. Example of environmental sensors: photo cell sensors.
Figure 15.22. Example of actuator: light-emitting diodes (LEDs).
Figure 15.23. Example of actuator: micro servo.
Figure 15.24. The Arduino IDE Interface.
Figure 15.25. The Arduino IDE File menu accessed to open example files.
Figure 15.26. The Arduino IDE Toolbar (from left to right): Verify, Upload, New, Open, and Sa...
Figure 15.27. The Arduino IDE Tools menu accessed to select the Board and the Port.
Figure 15.28. An example of using breadboards and jumper wires for prototyping.
Figure 15.29. A standard breadboard.
Figure 15.30. Jumper wires.
Figure 15.31. Resistors.
Figure 15.32. Wiring diagram: connecting a micro-servo to an Arduino Uno microcontroller thro...
Figure 15.33. Hannah Deegan and Zara Tamton, scissor bot drawing machine. Instructor, Frank M...
Figure 15.34. Nancy Diniz and Frank Melendez, Augmented Architectures. Bristle bot drawings.
Figure 15.35. Nancy Diniz and Frank Melendez, Augmented Architectures. Bristle bot drawings. ...
Figure 15.36. The Firefly tab, panels, and components.
Figure 15.37. Firefly components: Ports Available, Open Port, and Uno Read.
Figure 15.38. Frank Melendez and Nancy Diniz, Augmented Architectures, Liquid Actuated Elasto...
Figure 15.39. Augmented Architectures. Data visualizations created through the use of sensors...
Figure 15.40. Institute for Advanced Architecture of Catalonia (IaaC), Global Summer School, ...

Foreword

As pervasive as Laugier’s Primitive Hut myth, the “napkin sketch” occupies a powerful place in architecture’s disciplinary and professional narrative. The image, indeed expectation, of the artistic genius sketching out a design, one that is seamlessly realized, with nothing but cocktails, a fountain pen, and a napkin as aids, has simplified the incredible complexities and collaborative systems that have always been required to put a building together. The discipline’s embrace of the napkin sketch paradigm has arguably been a force in resisting the integration of new technologies into the teaching of architectural design and visualization. Architecture still likes to think of itself as a creative endeavor, and the transition from the fountain pen to digital tools came to symbolize an abdication of individual authorship. However, the advancements of the technologies and techniques outlined in Drawing from the Model reveal the promise to rethink what drawing is, and consequently to embrace the interplay of intention, intuition, iteration, and integration that has always been a part of the design process.

Historically, these first two “i’s” (intention and intuition) have been foreground, and reflected by the napkin-sketch scenario. While Drawing from the Model does not deny their importance, its focus on the interplay of drawing, model, and technology puts a spotlight on the pedagogical importance of iteration and integration. In this volume, “drawing” and “model” are terms that flow between digital and manual techniques, as intertwined players in a process of discovery and materialization. As such, in considering the role of drawing and modeling as teachers, we need to shift our obsession with physical output and understand how different tools can expand the various possibilities for cognitive and creative input. How can our students move fluidly between tools to sketch; to ideate; to translate between two-dimensional drawing and three-dimensional space and volume; to evaluate; to fabricate; to collaborate with others; to represent in four dimensions; to simulate the real; to foreground the idea over the real? The boundlessness of what drawing can be and what it can do opens up opportunities and expands our notion of architectural creativity.

Digital tools have become an unquestionable part of the design process, and less threatening to the creative territory we architects like to claim as intrinsic. Consequently, we now find ourselves in a post-rendering age, where what drawing and modeling can be is ever-widening. This is the perfect time to acknowledge the many places that we draw from, and the explore the possible routes to get there that Drawing from the Model presents us.

Sunil Bald

Sunil Bald is founding partner of studioSUMO and associate dean and professor at the Yale School of Architecture where he teaches design and visualization.

Acknowledgments

This project was initiated while teaching at The Bernard and Anne Spitzer School of Architecture, City College of New York (CCNY). Many faculty, staff, and students have been supportive of this project and have contributed in various ways. I would like to thank the following faculty members for their guidance, suggestions, and critical feedback during this process: Gordon Gebert, Julio Salcedo-Fernandez, Jeremy Edmiston, Marta Gutman, Michael Sorkin, M.T. Chang, and Bradley Horn. This book was supported in part by The Bernard and Anne Spitzer School of Architecture, CCNY. Thank you to the Spitzer family for their support of the school. Thank you to Camille Hall. Thank you to Hannah Deegan for her assistance. Many of the drawings and images in this book are the result of architectural representation and digital design courses that I have coordinated and taught over the past few years at The Bernard and Anne Spitzer School of Architecture, CCNY, as well as courses that I taught at Carnegie Mellon University. I would like to thank my colleagues who have helped to shape these courses and all of the students who have contributed their work.

I would like to thank the following reviewers for their generosity in providing great comments and suggestions: John Eberhart, Susannah Dickinson, Mara Marcu, Bradley Cantrell, Chrisopher Dial, Yichen Lu, and Michael Young.

A special thank you to Sunil Bald for writing the foreword to this book. I’m very grateful for his insight and meaningful contribution to this project.

I would like to express my gratitude and a appreciation to all of the talented architects, artists, and designers who supported and contributed to this book by providing drawings, renderings, photographs, and other images of their exemplary projects and work. Also to all of the foundations and organizations who provided access to resources as well as permission to include images from their collections in this publication.

I would like to thank Robert McNeel and Jody Mills for their support and the various individuals who contribute to the Rhinoceros and Grasshopper software, add-ons, communities, and forums.

Thank you to the editorial and production teams at Wiley, in particular Margaret Cummins, Amy Odum, Kalli Schultea, and Vishnu Narayanan, Amy Handy for her editorial contributions,and Helen Castle for supporting me in initiating this project with Wiley.

This book was written in part during a residency at the MacDowell Colony in Peterborough, New Hampshire. Thank you to the members of the MacDowell Colony for their support of this project and their larger mission of supporting the arts.

Finally, I would like to thank my family for all of their continuous support and encouragement.