tectonics? a case study for digital free-form

8/7/2019 TECTONICS? A CASE STUDY FOR DIGITAL FREE-FORM

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TECTONICS? A CASE STUDY FOR DIGITAL FREE-FORM

ARCHITECTURE

WAN-PING GAO

Graduate Institute of architecture, National Chiao-Tung University

1001 Ta Hsueh Road, Hsinchu, Taiwan 300, ROC

[email protected]

Abstract. During this information age, spatial form in the field of architecture has advanced to a new level. Digital free-form space iscommonly seen as the use of computer media has increased.Computers are used in various stages of this process with regard to

form, structure, supplies and planning. Many designs seen now arecomputer generated and have come about as a result of thedevelopment and implementation of new computer software andhardware. Tectonic knowledge representation of construction, whichemphasizes structural joints and attention to detail in creativity,displays architectural form by means of poetry of construction.However, present day digital architecture emphasizes dynamic surface,

with its three-dimensional curves, and the interior and exterior continuity of its topological spaces. This is all quite different from thespatial form produced by traditional tectonics view, making itimpossible to explain these modern designs within the field of traditional architecture. This study uses the FEIDAD Award as abasis for analysis, and attempts to define the phenomena and aspects

of digital tectonics. This study reflects the technique and mechanismof the process of digital design production, which, through the use of computers, becomes digital tectonics. Digital free-form architecturecan only be understood through digital tectonics.

1. Introduction

1.1. TECHNOLOGY AND TECTONICS

The most direct manner that architecture presents itself is by means of

spatial form. When the process of architectural production undergoes change,

then changes in the form of architecture follow. A combination of structure



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and materials moves the power of architecture to become a real, existing

building (Giedion, 1967).

According to tectonic related thinking, spatial form production is the

interrelationship and conformity of material, joints, detail and structure. In

this way, architecture can reflect specific features of modern technique and

technology. This is a prime characteristic of architectural modernity

(Heidegger, 1953; Giedion, 1967). On the other hand, architecture has

become an art form. In this way, attention is focused, not only on the

building as a means of protecting, but on knowledge representation of

construction. In the field of tectonics, the use of modern technology means

considering how to use new techniques, new materials and new building

methods to produce structural harmony, thus allowing architecture to

produce a new spatial form, being established on an inseparable relationship

between architecture and site context, producing an interaction between

people, nature and culture. In the end, architecture can take its place in

history as a messenger of civilization (Giedion, 1967; Frampton, 1992).

Tectonics emphasizes the use of structural materials as a means of

revealing technology’s role in the process of architecture production making

and displaying detailed creativity in structural joints. Meaningful use of bothmaterials and space reflects a state of architectural harmony. It could be said

that spatial form is the result of manipulating transformation by the uniting

of logical organization with the whole context (Semper, 1951; Gregotti,

1983; Frascari, 1984; Frampton, 1990). In this way, buildings can express

the poetry of construction and manifest representation, and can reveal

originality and ingenuity of design in the process of architecture productions.

This is to say that architecture spatial form should be studied and examined

through tectonics, forming an inseparable bond between architectonics and

tectonics (Semper, 1952; Heidegger, 1953; Frampton, 1995).

1.2. NEW FORMS FOLLOW NEW TECHNOLOGY

Building technique is not a tool for solving the problem of form, but is just

the source for considering architectural spatial form (Giedion, 1967).

Computers, an important technological feature of the new generation,

have already produced important breakthroughs in spatial form. By use of

digital computer technology, construction methods have gradually become a

product of computerized techniques. Computers are not just used in

graphical stages of design production, but are used in every step of the

construction process. Using many new techniques, such as CAD (computer

aided design), CAE (computer aided engineering), CAM (computer aided

manufacturing) and CNC (computer numerical control) etc, spatial form has

reached an entirely new level. Thus, computers have become anindispensable interface in architectural design and construction (Mitchell,



TECTONICS? A CASE STUDY FOR DIGITAL FREE-FORM ARCHITECTURE

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1998 a; Kloft, 2001; Ruby, 2001; De Luca and Nardini, 2002; Ham, 2003).

With the aid of computer animation software, designers can handle

complicated form. Computers can also assist in transforming design into

construction. Computer software and hardware can be used to create an

interaction between design concept and manipulation of objects. The

development of digital free-form is the most obvious aspect of digital

techniques (Imperiale, 1996; De Luca and Nardini, 2002; Ham, 2003).

In the history of architecture, the curves of free-form and the

unconventional geometric approach that produce a flowing form have

always been something that architects have wanted to produce. However,

hindered by progress in techniques, only a figurative representation of this

vision could be produced. With the completion of the 20th century

Guggenheim Museum, Bilbao, architecture entered a brand new era. The use

of computerized techniques opened a new page for free-form architecture;

digitally produced architectural form began to appear (Mitchell, 1998 a;

Pongratz, C. and Perbellini M. R, 2000; Liu, 2001). Additionally, traditional

emphasis on site architectonics, its motionless space and stability, along with

limitations imposed on structure, was gradually overtaken and replaced by a

multidimensional and virtual digital environment. Now a designer couldexplore a much more abstract world of design, a space filled with limitless

possibilities for new design. This would expand the possibilities for design

well beyond previous limits, leading the mind of designers into a three-

dimensional or even four dimensional space for design concepts (Mitchell,

1998 b; Wigley, 2001; Leach, 2002; Nardini, 2003).

2. Problem and Objective

Could the use of computers as a medium in design be considered a new type

of tectonics? Even though computer-media is spacious and materials are

very flexible, and with the ability to imitate, our understanding of the details

of tectonic production in a digital environment is very limited. The result is

that computer use in this area has only been considered to be a tool to

produce a translation or representation of form. Under the control of visual

senses digital free-form has become an imaginary, mechanical, complicated

form in the computer, while at the same time failing to investigate the

corresponding relationship between architectural composition and

technology.

Obvious architectural form is changing. Digital free-from production is

becoming more common. The appearance of many new architecture forms

are computer generated (Imperiale, 1996; Leach, 2002). But traditional

architecture, with its stagnant interpretation of structural joints and materials,can never explain the surface characteristics and the dynamic state of



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digitally produced spatial form ( Mitchell, 1998 b). However, in a digital

environment, the layer and structure, the interior and exterior do not differ

significantly. In a multi-dimensional digital environment, the physics of

space, proportion, material quality, etc., do not depend on elements of the

real world, such as those involving the use of materials, construction, or

structural standards. This is because the architectural form is gradually

dematerialized in such an environment (Imperiale, 1996Mitchell, 1998 b;

Wigley, 2001 ). But, does this mean that there is an undermining of

tectonics? With the aid of computers, the controlling interface of the digital

environment is derived from a different source than methods controlling

traditional design. If architecture spatial form could be viewed as the

derivative result of tectonics, then digital architecture form could, by means

of tectonics analysis, be understood and examined. Under these

circumstances, in a digitally designed environment, the role of tectonics

would vanish or change. Would there still be dependence on what is

emphasized by tectonics: the corresponding relationship between materials,

joints, details, structure, technique and technology? Or would a new digital

tectonics need to be defined?

The goal of this study is to explore the use of computers in the process of design control and the resulting architectural phenomena, to study the

technique and mechanism of digital architecture, and in the discussion of the

process of producing digital free-form design, to explore the development of

complicated form by using computerized methods. The study also expect to

examine the expression of spatial features under a digital environment, and

to view the process of digital control as a new form in the study of tectonics,

and to make the leap from the state of spatial abstract to defining style in

modern architecture. By means of digital tectonics, we could progressively

understand the interrelationship between contemporary architecture spatial

form and the manipulation of digital design, a foundation for digital free-

form and other complicated expressions of architecture production in this so-called information age.

3. Methodology and Steps

In order to understand the phenomena and special features of digital

architecture, this research will first focus on a case study of digital free-form

architecture. The case study has chosen the FEIDAD Award (The Far

Eastern International Digital Design Award) for this purpose.

FEIDAD Award is a digital architecture design competition based on

the virtual platform of the Internet. Contestants were from all over the globe,

including professional architects, designers and students. The jury iscomposed of specialist from all over the world who communicated on the




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matter of judging via web pages and email, thus choosing the winning digital

architecture product. Every year the number of contestants exceeds one

hundred. The contest was first held in the year 2,000, and this year is the

forth consecutive year that the contest has been held. Every year the best

published products are selected. The purpose is to encourage creativity in

virtual digital architecture. It’s an opportunity to bring into existence (albeit

in a virtual world) concepts and architectural expression that would be

impossible to produce in the real world and it also affords the opportunity to

see cutting-edge design concepts and brand-new spatial form. Therefore, the

10 winning entries from the years 2,000 to 2,002 are selected that display

strong digital free-form characteristics as objects for this study.

This study of spatial form has been comprised three parts: First,

observing the use of computer media to produce digital free-form and to

understand the difference between digital controlled design and traditional

architecture. Second, through the case-study explore the processes of digital

free-form architecture in a digital environment and analyze the

interrelationship between logical manipulation of design and digital free-

form production. In this phase, the cases are explored how this is different

from traditional architecture which emphasizes the structural relationship of knowledge representation through structure. Finally, the technique and

mechanism involved in the design process of digital architecture are

analyzed and to present the phenomena expressed through digital

architecture. Moreover, the relationship of digital tectonics and the field of

traditional architecture are discussed.

3.1. OBSERVING OF DIGITAL DESIGN ENVIRONMENT

3.1.1. Special Characteristics Produced by Digital Free-Form Design

In regards to digital free-form, computer software plays a very important

role. In addition to computers basic role in controlling the design process,

extensive use is made of computers to control the precise setting of

parameters, for example NURBS, blob, mesh, folding, etc. Recently, even

more dynamic design methods have been used in digital free-form design,

for example animation key-frame. By using mathematical equations and

computer program aided computations to obtain weaving parametric

surfaces or via automatically morphing alter the picture of an animated

object in a specified range, etc. (Imperiale, 1996; De Luca and Nardini,

2002) This study has confined its analysis to these characteristics in a digital

environment, and with the aid of a designer using computer related

techniques has produced digital free-form which has become the focal point

of this study. The research hopes with a wider range of computer software

usage that could examine digital design and tectonic related themes.



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3.1.2. The Difference between Digital Design and Traditional Tectonic views

Semper (1951) thought that architecture could be categorized according to

building methods, pointing out that tectonics was all about spatial form

represented by the relationship between construction materials and

construction methods. Also, it is not just a functional concept, as if

architectural expression were just a mixing of materials and intentions. For

example, an architect will consider how to use glass to highlight the various

characteristics of light, or how to use concrete to present volume and

capacity, etc. Use of materials also calls for considering source quality. In

order to illustrate purpose through pillars, walls, beams, panels, doors, or

windows various materials and elements with differing functional qualities

must be used to achieve such representation. Aside from describe specific

knowledge and comprehension, using appropriate materials can also reflect

intent of design concepts. For example, the relationship of pillars and wall

on the plane how to affect depth of expression through shadows and light on

the elevations, etc.

Design in architecture has been affected by computer. When 3D models,

animation, simulation, deformation and other computer based techniques are

used in the design process, this allows the designer to have greater controlover the manipulation of the product design. And when using a computer, a

designer can transform material objects into dematerialized objects through

digital imagery manipulation. This can produce substantial changes in effect.

What was originally a concrete, static state of expression with specific

characteristics can be changed dramatically with the aid of computers. For

example, such things as distortions, explosions, copying, etc, can be

expressed in this manner. Fixed, cognitive expression of architecture is no

longer important. By using computer software, special, logical manipulation

of design can be achieved.

Frampton (1995) extended Semper’s views regarding construction. He

felt that joints play an essential role in architecture. Joints at various levels of a building bind the structure together, making it a united whole. By giving

attention to the minutest details, material and construction components of

different properties can be bound together. For example, consideration needs

to be given to load-bearing and proportion when deciding how to join beams

and pillars. So it can be seen that different principles and elements of

architecture can be represented through joints. Tectonics expresses the

unique qualities of materials and elements of architecture by means of a

meaningfully designed structure.

In the digital environment, free-from the limits imposed on architecture in

the real world, a fixed object like joints becomes freer and more flexible. A

digital multidimensional design environment needn't propose the principles

that govern the real-world, such as mechanics, proportion, and materials, etc.For example, free-form spaces are defined through interior and exterior




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layers in the digital environment and the main structure system depending on

surface geometry shows the difference from the conventional frame

approach of construction. The entire structure and the interaction of its

various parts undergo dramatic change. The computer can manipulate all

phases of free-form design and construction, and can decide place and

position of each curve. Original order of design and construction becomes

unimportant. What is produced by computer design is a brand-new form of

architecture and a new spatial experience.

3.1.3. Dynamic Digital Design Manipulation Processes

From Semper (1951) to Frampton (1995): During this time the prevailing

theory in the field of architecture was that intent was represented through

design, an abstract state transformed into a reality. Through material,

construction components, structure, etc, the act of construction could reflect

spatial form. In this scheme, the smallest component, the joint, binds the

entire entity together. Through various stages of design, after transition and

change, spatial form is the structure that comes into existence by the

development of an idea. What begins simply as construction materials and

planning slowly becomes a special form. Everything involved in the process,small and great, interior and exterior elements are all interdependent.

From what was said earlier about digital design manipulation and

comparison with traditional tectonics, it can be seen that in a digital

environment where manipulation occurs under set parametric conditions,

using the dynamic digital design manipulation technique and mechanism,

this method of design production is different from the static process of

traditional architecture design, and is the next important point of discussion

in the study. This study addresses the five areas below, and analyzes 10

digital products, exploring special features of the dynamic design

manipulation processes and how these influence form.

(1)Concept: Digital design is often developed from ideas by means of

dynamic process.

(2)Manipulation: Exploring the relationship between technique

manipulation by computer and form development.

(3)Construction: Examine the state of materials, components, structure, etc.

in digital form.

(4)Form: Digital form allows design manipulation directly on the model,

appearance is more directly revealed.

(5)Space: Digital spatial form emphasizes how interaction affects form.

3.2. CASE STUDY: ARCHITECTURAL PROCESS OF DIGITAL FREE-FORM

The 10 top winners in the 2000 to 2002 FEIDAD Award are selected for this

case study. (TABLE 1) These 10 projects display strong digital free-formcharacteristics and include different awards. These products come from Asia,



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the Americas, and Europe. Designs scale from small private space to quite

large community area. Some designs are quite clear; others are very complex,

from single unit structures to the study of a city. It is hoped that by

examining a number of processes involving manipulation of digital spatial

form, it could better understand the various applications and characteristics.

Most of the source material for this study came from information obtained

from a book published by FEIDAD Award, which reports on the yearly

digital design competition. By studying these images and texts, the concept

are understand, manipulation, construction, form, and space of the processes

used by the 10 winning entries.

TABLE 1. Index of 10 study cases

Project Ambient Amplifiers-The Logics of UncertaintyDesigner OCEANnorth / Birger Sevaldson + Phu Duong

Country Norway + USA

Case-1

Prize / Year Design Merit Award / 2000

Project DynaForm-Cablecar Station

Designer Kuo-chien Shen

Country Taiwan

Case-2


Project iNSTANT eGODesigner Adrien Raoul + Remi Feghali + Hyoungjin CHO

Country France + Lebanon + Korea

Case-3

Prize / Year Special Prize for Digital Creativity / 2000

Project AEGIS HYPO-SURFACE(c) Patent pending

Designer dECOi Architects

Country France + UK

Case-4

Prize / Year Outstanding Award / 2001

Project Dynaform-BMW Frankfurt Motorshow 2001 Pavilion

Designer ABB Architekten / Bernhard Franken

Country Germany

Case-5


Project Pneumatrix : Pneumatic Architecture in the digital

Designer Judit Kimpian

Country UK

Case-6


Project video FIELD, Institute for Video Art, Hollywood

Designer Chia-Hung Wang

Country Taiwan

Case-7

Prize / Year Special Prize for Digital Analysis / 2001

Project Post agriculture

Designer Achim Menges

Country UK + Germany

Case-8

Prize / Year Outstanding Award / 2002

Project Stream in Field-Analogue Calculating Design

Designer Ying-Chang Yu + Wen-Yu Tu

Country Taiwan

Case-9

Prize / Year Special Prize / 2002

Project Metro Canopy

Designer Max Asare

Country USA

Case-10

Prize / Year TOP 10 / 2002




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Every cases are examined the design manipulation processes whether

the same as described in previous observations. How do they differ from

traditional design? The study explores the traditional design process how to

upgrade a new dynamic process. All products of dynamic design process are

recorded to present clear computer utilization appearances. By this we

understand the relationship between digital computer techniques and the

creation of digital form. The logic of digital architecture manipulation is

explained below.

3.2.1. Concept: Motion / Action

The most obvious characteristic of digital architecture is time continuity and

the fact that the dynamic process of space takes place within this continuity.

These features especially are showed in case-5(Figure 1.) and case-

7(Figure 2.). Because of this, computer techniques can easily simulate the sta

te of many actions, making it a model when considering design manipulation

. This allows the designer to explore much more complex and nebulas conce

pts, like speed, molecular activity, hydrodynamics, etc, changing from dyna

mic simulated action to action and to reaction. This can not only be expresse

d in idea and design, but can be demonstrated in the process of studying structure and form. This suggests that digital architecture emphasizes responsive

ness to the appearance of spatial form, and we could, through the special feat

ures of digital free-form, conduct our study of these matters.

Figure 1.Case 5: When a car drives through tubematrix, a series of force-field simulations is

turned out to be an interactivity form.



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Figure 2.Case-7: Using two interrelated morphologies to simulate the movement of the

strands as a whole entity and the implicated sub-zones in the alterations of some strands.

3.2.2. Manipulation: Deformation / Generation

Using a variety of computer techniques, through powerful computer editing,

Designers could manipulate changes directly on objects. For example, Case-

1 presents the four states of unfinishedness: Footprint, Foundation, Frameand Core which shows the key-frames of deformation creating the

generative form for the site (islands). Case-6 through the dynamic shape

changes to develop pneumatic forms. The spatial and tectonic concepts are

surfaced as a result and have been incorporated in the design. This method of

manipulation replaces the uniting of traditional architecture elements and

construction components (and traditional vocabulary). This would move

designers to give more detailed consideration to structure, construction

components, materials, etc, and to use computer techniques in the

manipulation process. Parametric settings often produce an unpredictable

result in design form. This helps to explain why digital free-form can

produce such unreal form characteristics.

Figure 4. Case-6: The deformation diagramof pneumatic architecture

Figure 3. Case-1: The relationship betweenfour states of shaping and site (islands).




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3.3.3. Construction: Information / Adaptation

In a digital environment, materials exist in an immaterial state. A designer

can create new materials that real environment are not existence. The wide

use of imagery changes one’s view of materials, and in a digital environment,

all materials are changed into the form of information. Materials become

parametric information input. Most cases reflect this theme in the design

process and typically change the “parametric information material” to study

form and then response to construction adaptation. (Figure 5 and Figure6

present this design process.). We cannot use the traditional concept of

materials to study this kind of material-turned- information phenomena. The

result of this is that material takes on new characteristics like color and light

reflection. By means of parametric settings, this information becomes a

dynamic message, causing the information / material to change the texture

and state of the structure itself. This can result in construction components

manifesting different qualities and an adaptation of these components toward

each other. This natural dynamic state causes the entire form to blend

together.

Figure 5. Case-2: It transforms information (the force, field, and traces) as the references for

design. The state of the form is controlled by the parameters of media scripts. After the

volume, surface, and slabs are created, structure frames would be made.

Figure 6. Case-4: It simulates a dynamically surface could caption information (events,

movement or sound, etc.) of surrounding environment and respond to form changing as a

sensitive device.



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3.2.4. Form: Emotion / Expression

One outstanding characteristic of digital from is that it is full of expression,

especially that displayed by digital free-form. It is not like abstract form of

traditional geometric form, a representation in space. Rather, it is full of

emotion, it is able to use a very active and direct method to affect immediate

changes and thus display emotion in design. In Case-9(Figure 7), the project

attempted to create a movement of particle flow model of architecture design

which is based on the "internal setting" and "external condition", and then to

find a new way to discuss the "Fluid" concept. Through various actions form

can express itself, such as Case-10 (Figure 8), this project study in structure,

materiality, light and shadow in the digital environment. The movement of

commuters on the escalators is seen as the vehement expression to through

speed and darkness. The images easy demonstrate how space and form exist

together.

3.2.5. Space: Sensation / Interaction

Many cases regarding space expression have hoped that structures could

posses enough sensation so that spatial interaction could result, so that theenvironment could be stimulated to produce the right reaction. Case-3, Case-

4, and Case-8 are revealing the very strong conspicuous design attempts on

interactive spatial form.Case-3 is a individual privacy space which are

plugged on clothing for waiting to be unfolded and depending on life

behavior. Case-4 description a sensitive wall could reflect environment

information to change surface expression.Case-8, a large structure system, it

demonstrates the development and assessment of the structure is not

simply limited to its load bearing capacity but to a whole set of other

performance criteria, such as accordance with light and climatic intensities to

operate spatial condition. Actually, traditional tectonics emphasizes the

interaction between architecture, environment and people. However, digital

architecture takes this a step further and reflects this view in a dynamic

Figure 7. Case-9: flow description of architec

ture composition.

Figure 8. Case-10: spatial form express

ion.




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structure, allowing the building to be more that just a structure, but to posses

a body with life. Maybe this is the ultimate goal of digital architecture.

Figure 9. Case-3, Case-4 and Case-8: The constructions from digital tectonics are not only

the expression of form but also emphasize more sensibility capacity to interact with

surrounding world.

3.3. PHENOMENA OF DESIGN MANIPULATION IN THE DIGITAL WORLD

From this case study it can be seen that in a digital environment, form can be

seen early in the dynamic design manipulation process. Abstract thought and

abstract from can coexist. Changes can be made directly on the object, by

manipulating materials, components, structure, etc. replacing traditional

design habits. Because the thinking related to the manipulation of digital

design is very strong, the finished product is usually a space that reflects a

unity of the simple and the complex, quite different from what is emphasized

by traditional thinking: spatial form of orderly functions. Spaces weaved

together make for a very complicated state, boundaries become blurred

status. There is even the possibility of creating an interaction between many

more spaces.

4. Conclusion

Digital tectonics: an extension of tradition and a brand-new spatial form. By

means of computer design manipulation, what is emphasized by traditional

architecture the corresponding relationship between material, joints,

detail, structure, etc.undergoes a complete transformation in a digital

environment. Regarding digital free-form design production with the logic it

produces, a special characteristic is that it uses dynamic architecture logic

and thus, in a most direct fashion, can produce form. Only by a study and

understanding of digital architecture can one comprehend the complexity of

forms created by means of digital free-form.

The process of manipulating design by computer can be viewed as

digital tectonics. It’s a display of digital design thinking. The demonstration

of knowledge relative to the technique and mechanism of the process of

Case- Case- Case-



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digital architecture production proves that computer technique is not just a

tool for design, but is also a medium for inspiring thinking in the realm of

design, a means of producing the logic behind even more complex forms.

Digital tectonics and traditional tectonics have already had a profound

influence on each other. In this information age, we could say that computers,

the home of material reborn as information, are the means of displaying a

very special spatial form. It does this by means of a dynamic process. Digital

architecture not only carries on in the knowledge and intention of traditional

architecture, it also extends the vision of traditional tectonics. It extends

manipulation of the static plane, causing it to posses a dynamic vision.

Architecture design is not just the manipulation of form. Actually,

traditional tectonics is concerned with context. Later studies could have the

goal of exploring how computer manipulated design affects other types of

digital architectural forms, and the making of a spatial structure in a physical

environment.

Acknowledgements

Most study materials are selected from FEIDAD Award web-site and publications.I especially like to thank Prof. Yu-Tung Liu for extending my vision to look into thistheme. Besides, thank Dr. Chen-Cheng Chen and Dr. Teng-Wen Chang for giving

me digital design view and computing concept.

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