Led by Masaaki Miki, Assistant Professor at the University of Tokyo, this research-oriented gridshell project explores how computational form-finding can extend beyond geometry generation and become part of an integrated fabrication and construction workflow.
Measuring approximately 3.2 meters wide, 4 meters deep, and 2.7 meters at its highest point, the 1:5-scale structure was developed as one of the works presented in the exhibition Connecting Artifacts 06. The installation also served as a physical demonstration of Godzilla, a NURBS-based form-finding plugin developed by Miki in collaboration with American structural engineer Toby Mitchell.
Created to find bending-free shell geometries combining tension and compression, Godzilla has been under development for more than five years. Over time, the tool has evolved into a broader gridshell design system capable of incorporating additional fabrication constraints, including planar panelization and torsion-free beams.
FROM SMOOTH SURFACES TO FABRICABLE COMPONENTS
The form-finding process was carried out within Rhino and Grasshopper using Godzilla. At this stage, the resulting geometry was represented as a collection of smooth NURBS surfaces.
While the form-finding process establishes a geometry in which planar panels and torsion-free beams are possible, the final structure still needs to be translated into discrete, manufacturable components. To achieve this, the geometry was converted into a quad mesh, defining the individual panels and beam network that would eventually form the gridshell.
The primary structural material was a special 5 mm-thick MDF board colored during the manufacturing process. All components were laser-cut by a professional fabrication company.
The geometric constraints embedded in the digital workflow had a direct impact on how these parts could be manufactured and assembled. Because the panels were planar and the beams torsion-free, the individual elements could be produced as flat sheets and connected through pre-cut slots rather than requiring complex three-dimensional machining.
Detailed digital models and cutting profiles were prepared by Miki, together with the supporting structures and associated components needed for construction.
DESIGNING FOR FLEXIBILITY BEFORE FABRICATION
The project also had to accommodate a tight production schedule. The laser-cutting order needed to be finalized before the exact subdivision of the intermediate-sized assembly units had been fully established.
To preserve flexibility after the components had already been sent for fabrication, every beam was divided at its midpoint and reconnected using bolts and nuts. This seemingly small detail allowed the boundaries between the intermediate panel units to be modified later without changing the laser-cut components themselves.
Before installation, the student team pre-assembled multiple individual panels into larger units in a workshop. These sections could then be stored, transported to the exhibition venue, and connected into the complete shell on site.
ASSEMBLY AS PART OF THE DESIGN PROBLEM
The pre-assembly and on-site assembly were carried out primarily by undergraduate students recruited through courses taught by Miki, including Graphic Science Exercise I. Miki was responsible for the design, fabrication data, and supporting structures, while the laser cutting was outsourced to a professional fabrication company.
As a result, the assembly sequence needed to be designed not only for efficiency, but also for safety.
Two principles guided the construction process: avoiding work at height and carrying out assembly primarily from outside the gridshell.
The central portion of the shell was therefore first assembled approximately 550 mm below its final position. Once completed, it was lifted by 550 mm and connected to the leg portions. This approach allowed most of the work to take place at ground level and reduced the need for students to work underneath or on top of the structure.
The base system was also designed as part of the structural strategy. Rather than being mechanically fixed to the floor, the gridshell stood on plywood base plates designed to transfer forces laterally between its legs and resist the horizontal thrust produced by the shell.
7 MONTHS OF PREPARATION; 3 DAYS OF ASSEMBLY
From initial design through construction, the project took approximately seven months.
Workshop preparation was carried out intermittently over roughly five months and required around 120 person-hours. By contrast, the final on-site assembly was completed in just three days during the one-week changeover period preceding Connecting Artifacts 06.
The resulting structure demonstrates how computational design can address much more than the production of complex form. In this case, the same workflow connects structural behavior, NURBS geometry, panel discretization, fabrication constraints, connection detailing, logistics, and assembly sequencing.
Rather than treating digital design and construction as separate stages, the gridshell demonstrates how decisions made within Rhino and Grasshopper can remain embedded throughout the entire process, from form-finding to the final bolt.
The gridshell is on display as part of Connecting Artifacts 06 at the Komaba Museum in Tokyo, Japan, through September 13, 2026. Admission is free. The museum is closed on Tuesdays.
CREDITS
Project Lead and Design: Masaaki Miki
Institution: The University of Tokyo
Godzilla Plugin Development: Masaaki Miki and Toby Mitchell
Assembly: University of Tokyo student team
Exhibition: Connecting Artifacts 06
Photography: Choku Kimura
