UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN

Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

ARCH&UD 289 SUMMER

SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN

Lynn, Greg. Animate Form. New York: Princeton Architectural Press, 1999.

COMPUTATIONAL GEOMETRY +
DIGITAL FABRICATION
CATALOG DESCRIPTION

Geometry lies at the core of the architectural design process. It is omnipresent, from the initial
form-finding stages to the actual construction. While design and geometry share a fundamental interest

ARCH&UD 289 / Winter 2022 / COURSE SYLLABUS / 2021.12.16 / P. 1/6

UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN
Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

in form and shape, this seminar aims to address the various natures of the historical relationship between
mathematics, geometry, computation, and architecture. Through the display of historical mathematical
models with formal affinities to contemporary architectural production, the course will provoke discussion
about the relevance of a history of form, the origins of design technique, the epistemology of geometry
models, and the justification for mathematical surfaces in architecture. This course examines the history,
theory and practice of developable and non-developable surfaces in tandem with modes of digital
fabrication. The primary objective is to provide designers with the tools to imagine and represent with
precision, dexterity, virtuosity, and economy a continually accessible repertoire of three-dimensional
architectural form.

COURSE DESCRIPTION

“There is a critical difference between the discrete geometry of baroque space-a geometry of multiple
points, and the continuity of topology-a multiplicity without points. Where baroque space is defined by
multiple radii, a topological surface is defined as a flow that hangs from fixed points that are weighted.
Although baroque space is geometrically highly continuous and highly differentiated, it does retain multiple
spatial centers. The continuous contours of baroque interiors are composed of segments of multiple
discrete radial elements”.1

“In an attempt to articulate why the differentiated spaces implied by baroque compound curvature are not
the antecedent of more contemporary calculus-based methods of design, Greg Lynn made a well-known
comparison between a composite curve made of several piecewise continuous (and tangent) arcs and an
inflected spline curve with weighted control vertices. It is a point with which I disagree, because the two
need not be mutually inclusive or exclusive. The comparison does effectively showcase one of the
intractable architectural dialectics between the continuous and the discrete.”2

The ubiquity of digital modeling software enables complex form generation without explicit knowledge of
underlying mathematical, geometric, and fabrication principles governing these digital forms. While this
has led to profound innovations in the realm of form, the reciprocity in translating these digital geometric
concepts into building construction principles has not kept pace. Today the digital medium has created
an imbalance between design means and methods, or the reciprocity between the digital and physical.

Between the surplus of complex form and the industrial constraints of building construction lies an
imbalance. Digital modeling equips designers with a means to create three dimensional forms blissfully
ignorant of physical fabrication constraints. To transcend this rift, it is necessary to develop a geometric
lexicon that negotiates between curved forms and fabrication constraints of building assemblies.
Ultimately translating complex digital forms into surfaces constructible at an architectural scale,
economically utilizing both the continuous and the discrete.

Thematically, the course will foster an integrated understanding of topics such as digital design tools and
workflows for constructing large scale physical models of complex geometries. These modeling
investigations will cultivate an objective approach to form that explores the application of parametric
approaches that are both deductive (surface characteristics, fabrication economy, etc.) and empirical
(material deformation, generative detailing, etc.). Using visual scripting, students will understand
concepts such as parametric modeling, developable geometry, digital fabrication methods, and the

ARCH&UD 289 / Winter 2022 / COURSE SYLLABUS / 2021.12.16 / P. 2/6

UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN
Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

mathematical principles underpinning them. Among the most far reaching effects is a recalibration of the
long standing relationship between the virtual and the physical in architecture.

1. Lynn, Greg. Animate Form. New York: Princeton Architectural Press, 1999.
2. Wu, Cameron. “Ellipse, Parabola, Hyperbola: Ellipsis, Parable, Hyperbole.” Log, no. 43, 2018, pp. 60–68.

LEARNING OBJECTIVES

As a part of the seminar, students will learn to use parametric design tools Rhinoceros 3D—a NURBS
surface modeling program—and Grasshopper3D—visual programming language and associative
modeling environment. Additionally, students will be exposed to contemporary methods of digital
fabrication including laser-cutting, 3d printing, and cnc milling. Through a series of lectures, software
tutorials, and geometry workshops, students will respond to foundational digital design problems with a
progression of digital and physical modeling exercises culminating in a final project which will
demonstrate appropriate synthesis of geometry, software, and fabrication knowledge. Students will use
these digital instruments in tandem with an acquired mathematical understanding of surfaces to develop
a final project of large, complex geometry models that highlight architecture’s fundamental
representational and scalar issues.

1. Develop a mastery of curve and surficic mathematics and properties.

2. Understand design and fabrication economizations through surface types.
3. Utilize visual scripting for design and automation assistance.
4. Learn methods of digital fabrication including: laser-cutting, cnc, and 3d printing.
5. Produce and theororize models as forms of architectural instruments.

COURSE NOTES

The seminar meets every Wednesday from 9:00 am PST to 6:30 pm PST at IDEAS Campus. The course
consists of lectures, tutorials, and workshops as well as weekly project development discussion and
critique. While projects are individual, students are encouraged to develop collaborative studio culture.
Assignments and Progress should be completed before class time.

SOFTWARE REQUIRED

All tutorials and templates will be given using the following software:
Rhino 7, Grasshopper. Tutorials will be given on Windows OS. Students will be required to look into
solutions if their software differs from those used in demos. Mice are required at all times.

DESCRIPTION AND ASSESSMENT OF ASSIGNMENTS

Project Description:
https://docs.google.com/document/d/1A8tRnQUPlSzCK8kQb3hoD8mTVue1cCXXJRaMzHhUZuI/edit?us
p=sharing

ARCH&UD 289 / Winter 2022 / COURSE SYLLABUS / 2021.12.16 / P. 3/6

UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN
Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

An intuitive and critical understanding of digital craft as it applies to our digital instruments is valuable for
evaluating them and their results. Therefore, evaluation of the assignments will not be based solely on
technical complexity or accomplishment, but the digital design integrity and the ability to take advantage
of limitations and even “bugs” and hacking found scripts together in your assignments will be equally
important. Assignments will be assessed based on the following Rubric:
100% 75% 50% 25%

Technological Proficiency Exceptional modeling General modeling craft, Basic modeling craft, Bad modeling craft,
craft, organization, and organization, and organization, and organization, and
techniques. techniques. techniques. techniques.

Design Development Work is exceptionally Work is generally unique Work is somewhat unique Work is not unique and
unique and interesting. and interesting. Good and interesting. Minimal interesting. Lack of
Exceptional understanding understanding and understanding and understanding and
and application of design application of design application of design application of design
principles. principles. principles. principles.

Representation Communicates design Communicates design Communicates design Does not communicate
exceptionally using generally using somewhat using design using architectural
architectural presentation architectural presentation architectural presentation presentation materials
materials and techniques. materials and techniques. materials and techniques. and techniques.

HOW TO

Animate Grasshopper:
https://docs.google.com/document/d/16v5J6QeZrh5kHjI5PSADGG8O2CW2O20JHZ2eAYxBZrk/edit?usp
=sharing

GRADING BREAKDOWN

### Assignment Title Points % of Grade

001.A Four-Sided Developable 10 10%

001.B Developable Study Model 10 10%

001.C Detailed Digital Model 10 10%

001.D Model Kit I 10 10%

001.E Model Kit II 10 10%

001.F Post-Processing 50 50%

ASSIGNMENT SUBMISSION POLICY

Each assignment will be submitted to Google Drive, meeting the deadlines and protocols specified by
assignment briefs. Each student must be prepared to discuss their assignment in class. Assignments are
due by 9:00 PM the day before class.

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UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN
Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

Each submission should be named using the naming convention outlined below. If you submit your
assignment and resubmit it, use the exact same name and overwrite the file on google drive (google drive
handles all versioning, DO NOT add additional information to your filename). In the CLASS LIST document
linked below, please choose a three letter acronym to use for the remainder of this class (make sure you
do not duplicate an existing acronym):

3-Letter Assignment Acronym_Assignment.FileType (ie. MJC_001B.fbx)

CLASS LIST

Class List Spreadsheet (please fill each column with your information):
https://docs.google.com/spreadsheets/d/1pZGM2WaX3NxuOk95M44ZEsPxYt87UjE7tnQJL0BkgRQ/edit
?usp=sharing

ASSIGNMENT SUBMISSIONS

https://drive.google.com/drive/folders/15iAgwVvfpMFOSQilyocXI0bKVVra9N-B?usp=sharing

SCHEDULE

Date W Time Theme Workshop Precedent Assignment Due

2022.08.03 01
Visual Scripting, Solids, Developable
Surfaces, Boolean Operations, Walt Disney
Gaussian Curvature, Transforms, Concert Hall,
9:00-1:00 Grasshopper Vector3d, Plane, Normalized FOGA 001.A -

2022.08.10 02 Data Structures, Deconstruct, Surfaces, Battersea Power

IsoCurve, UV Intervals, Document Station,
Developable Automation, Laser Cutting, Layer FOGA/Gehry
9:00-1:00 Fabrication Organization Technologies 001.B 001.A

2022.08.17 03 SubD Surfacing, Zebra Lines, Draft

Analysis, Surface Continuity, Tangency, Harbin Opera
9:00-1:00 Rhino Curvature, NURBS House, MAD 001.C 001.B

2022.08.24 04 Meshes, Mesh Smoothing, 3d printing, Embryological

Non-Developable CNC Machining, Soft Bodies, Physics House, Greg Lynn
9:00-1:00 Fabrication Modeling FORM 001.D 001.C

2022.08.31 05 The Meeting

House, FOGA,
Post-Processing, Finishing, Color, Hutong Bubble,
9:00-1:00 Post-Processing Greeble, Kitbash, MAD 001.E 001.D

2022.09.07 06
Sou Fujimoto
2D Documentation, Rendering, Architecture
9:00-1:00 Documentation Photography, Lighting Biennale 001.F 001.E

2022.09.12 07
2:00-6:00 Final Reviews - - - 001.F

ARCH&UD 289 / Winter 2022 / COURSE SYLLABUS / 2021.12.16 / P. 5/6

UNIVERSITY OF CALIFORNIA LOS ANGELES | SUMMER 2022 | ARCH&UD 289 | SPECIAL TOPICS IN ARCHITECTURE AND URBAN DESIGN
Instructor: [email protected]
Schedule: Wednesday 08.03-09.12, 9:00 AM - 6:00 PM

ATTENDANCE POLICY:

Each unexcused absence will result in the reduction of one letter grade from the final grade. More than 3
unexcused absences will result in a failing grade. Being 15 mins late to the class will account for half an
absence. Due to the technical nature of this course it is imperative that classes are not missed as each
class is building on technical knowledge presented in the previous class.

LOCATION

UCLA IDEAS Campus

Zoom:
https://ucla.zoom.us/j/2181928441
Meeting ID: 218 192 8441

VIDEO CONFERENCING DISCLAIMER:

This program uses video recording or other personal information capture for the purpose of facilitating
the course and/or test environment. Pursuant to the terms of the agreement with UCLA, the data is used
solely for this purpose and any vendor is prohibited from disclosing this information. UCLA also does not
use the data for any other purpose. Students may not distribute recordings or other instructional
materials provided as part of remote learning by faculty, teaching assistants, or invited guests.

COURSE OUTLINE BY THE DEPARTMENT OF ARCHITECTURE AND URBAN DESIGN:

If you are already registered with the Center for Accessible Education (CAE), please request your Letter of
Accommodation on the Student Portal. If you are seeking registration with the CAE, please submit your
request for accommodations via the CAE website. Please note that the CAE does not send
accommodation letters to instructors--you must request that I view the letter in the online Faculty Portal.
Once you have requested your accommodations via the Student Portal, please notify me immediately so I
can view your letter. Students with disabilities requiring academic accommodations should submit their
request for accommodations as soon as possible, as it may take up to two weeks to review the request.
For more information, please visit the CAE website (www.cae.ucla.edu), visit the CAE at A255 Murphy
Hall, or contact us by phone at (310) 825-1501.

It is a requirement of this course that all students submit course materials digitally by the end of quarter.
Failure to do so will result in the loss of one letter grade. Please follow this procedure in digitally
submitting your work:

1.) For Studios: All students are required to submit all final project boards, drawings, animations, photos,
and videos. Drawings, boards, and photos should be provided at 300dpi. All animations and videos should
be provided as a MP4 file. Students may also elect to take digital photographs of their models and submit
these along with their final boards.

2.) For Lectures and Seminars: All students must submit required assignments as compressed PDF files.

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