Design Design Studio-Air Studio-Air Haotian Haotian Li(Anna) Li(Anna)
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JOURNAL
-CONTENTS
Week One: Architecture as a discourse a discourse urse
Building the Inspiring Space
“I think my best skill as an architect is the achievement of hand-to-eye coordination; I am able to transfer a sketch into a model into the building” — Frank Gehry
Guggenheim Museum
Marques de Piscal
The Guggenheim Museum Bilbao is a pinnacle in Gehry’s outstanding architectural career as well as in the field of museum design. It remains unsurpassed in its integration of art and architecture, maintaining an aesthetic and programmatic unity. This building is very unique and pushes many architectural boundaries, which has made it one of the most famous contemporary structures in the world. It was built in 1997 and is considered to be an important part of architecture history. When designing the building the architect was inspired by the location, which is overlooking the port of the Nervion River. The designs incorporate some natural features, for example; the building “ is intended to resemble a ship. Its brilliantly reflective titanium panels resemble fish scales, echoing the other organic life (and, in particular, fish-like) forms that recur commonly in Gehry’s designs.” The contours and shapes used to construct this building are out of the norm and require experience and efficient plans to create successfully. Some materials used were; clad in glass, titanium and lime stone. “Computer simulations of the building’s structure made it feasible to build shapes that architects of earlier eras would have found nearly impossible to construct.”
Frank Gehry’ s buildings displayed a penchant for whimsy and playfulness previously unknown in serious architecture. Most distinctive of all was his ability to explode familiar geometric volumes and reassemble them in original new forms of unprecedented complexity, a practice the critics dubbed “deconstructivism.” Gehry’s use of cutting-edge computer-aided design technology enabled him to translate poetic forms into reality. The resulting architecture is sculptural and expressionistic, with spaces unlike any others for the presentation of art. While buildings with curves were not new, going back to the Pantheon in Rome, major buildings with many very complex curves were not and Bilbao established Gehry as the world’s leading architect and master of high-tech, computer-aided design and pronounced the decline of the merely rectilinear.
Gateway Project Walt Disiney Concert Hall Relate to the Gateway Project, the brief encourage to develop a proposal that inspires and enriched the municipality, the installation on the side of freeway needs to enhance the physical environment through the introduction of a visual arts components. What Mr Gehry has done for the Guggenheim Museum in terms of design inspired by the location and incorporating natural feature are really helpful idea when we approach to the project. We can see from most of Gehry’s work of his strong intention to break the lines between art and architecture. His works are commonly integrated with art as well as maintaining an aesthetic and programmatic unity. Back to the gateway project, from study of Gehry’s design scheme, I realize that there should not be any restriction in the form, with an assistance of software we can think of any unusual shapes as long as it fulfill our design intent. We should put our self in the box and most importantly, the brief is ask for most like a sculpture like installation, this is the best opportunity for us to capture a more abstract aspirational intent without worrying too much about the functionality.
Lou Ruvo Center
Gehry has demonstrated that the computer and new materials have opened the way for new architectural wonders.Gehry first envisioned its form, like all his works, through a simple freestyle hand sketch, but breakthroughs in computer software had enabled him to build in increasingly eccentric shapes, sweeping irregular curves that were the antithesis of the severely rectilinear International Style. Traditional modernists criticized the work as arbitrary, or gratuitously eccentric, but distinguished former exponents of the International Style, such as the late Philip Johnson championed his work, and Gehry became the most visible of an elite cohort of highly publicized “starchitects.”
Weisman Art Museum
Weisman Art Museum
http://www.thecityreview.com/gehgug.html
Walt Disiney Concert Hall
http://www.guggenheim.org/bilbao http://www.arcspace.com/architects/gehry/Guggenheim_Museum/ http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
The prototype of ‘Vector Wall’ is a celebration of intimacy, an exploration of sensuality and its affects. It is a boudoir object comprised of a complex, lace-like pattern laser-cut into a steel sheet then stretched and hand tuned to develop the wall’s unique form and personality. In mass production the concept allows a single pattern to develop almost limitless subtle variations of form and effects, depending upon how the forces of manufacture are applied to the sheet.
“Parametric Design calls for the rejection of fixed solutions and for an exploration of infinitely variable possibilities.”
- Kolarevic
Week Two: Computation in Architecture Computational Design seeks to understand design and to use computers to do so. In regard to practice it is not just the specific use made of technological innovations that is fundamental. It is rather that technology has provided the models in terms of which these innovations are to be understood, and, just as significantly, the computer has become a device that is inseparable from the design process itself. The developments of complex surfaces, the shifts in how topology operates have become the work of animation and computer generation.
The architects Jesse Reiser and Nanako Umemoto in their project vector wall imagined ways that a simple laser cutter can perforate a rigid or semirigid material with multidirectional patterning, reinterpreting the common domestic partition wall and trancending a simple definition of space to become spatial in itself. Once cut, a flat steel sheet can transform into a volumetric, scalable, diaphanous scrim collapsing structure, volume, and enclosure all within the same system.
Such complex, lace-like pattern laser-cut could be achieved by Rhino-Grasshopper Program; grasshopper definition allows creating a pattern to be controlled in the length and direction of vectors with start points on a rectangular grid. The first parameter was dependent on the distance from the start point of the vector to the closest point of a curve, which was playing a role of an attractor. The direction of the vectors was defined by the tangent of the attractor curve at the closest point.
http://www.iaacblogbackup.com/20082009/term03/s6/?cat=7 http://karrahv.blogspot.com. au/2009/01/reiser-umemoto-by-allieshabouk-jazmin.html
The shapes that are formed in computeraided design are the result of decisions made using parameters. Numerical data which describe characteristics of the virtual design environment such as temperature, gravity, and other forces have an impact on the form. For example, dynamic modeling systems are based on the interaction of multiple parameter statements calculated sequentially rather than in an instant. Numerical parameters can be key framed and dynamically linked through expressions to alter the shape of objects. In addition to mere changes in shape, these parameters control gradient characteristics of fields such as directional forces, gravities, warps, and particles. Gradient parameters of decay, wave behavior, attraction, and density affect objects as numerical fields of force rather than as object transformations.
Week Three: -Parametricism as Style Week:
Con
Temporary avant-garde architecture is addressing the demand for an increased level of articulated complexity by means of retooling its methods on the basis of parametric design systems. The contemporary architectural style that has achieved pervasive hegemony within the contemporary architectural avant-garde can be best understood as a research programme based upon the parametric paradigma. Avant-garde architecture produces manifestos: paradigmatic expositions of a new style’s unique potential, not buildings that are balanced to function in all respects. There can be neither verification, nor final refutation merely on the basis of its built results.
The current stage of advancement within parametricism relates as much to the continuous advancement of the attendant computational dresign technologies as it is due to the designer’s realization of the unique. formal and organizational opportunities that are afforded. Parametricism can only exist via sophisticated parametric techniques. Finally, computationally advanced design techniques like scripting (in Mel-script or Rhinoscript) and parametric modeling (with tools like GC or DP) are becoming a pervasive reality. Today it is impossible to compete within the contemporary avant-garde scene without mastering these techniques. Parametricism emerges from the creative exploitation of parametric design systems in view of articulating increasingly complex social processes and institutions. The parametric design tools by themselves cannot account for this drastic stylistic shift from modernism to parametricism. This is evidenced by the fact that late modernist architects are employing parametric tools in ways which result in the maintenance of a modernist aesthetics, i.e. using parametric modelling to inconspicuously absorb complexity
SCRIPTEDBYPURPOSE
Tooling
swells: highrising fields
Tooling
genware: scripting network
Tooling Tooling Crystal_Baskets_Twigs
biot(h)ing is a research-design laboratory whose structure derives from particular linkages between various disciplinary and technological nodes, promoting intra-specific creative relationships which in turn serve as a transformative tissue for the design process itself. An algorithmic articulation of the relation between the corporeal and incorporeal i s biot(h)ing’s attempt to engage with complexity. Away from individuations as subject or form, design is understood as genetic inscription. Parallel reality of the invisible code is a common ground for multiple actualizations. What is encoded is not the form of organization, but the process of autopoesis through intricate entanglements of discreet agents. Computational patterns are understood as deep in its potential to produce expressions on various scales. Biot(h)ing’s projects range from the scale of fashion accessories and product design to large scale structural and urban fields.
endless knot Tooling is about what rules exist within this hypothetical “pre-material” state that influence its movement into the realm of the material. Like Bentley’s snowflakes, the source of wonder behind one crystal is not the storm it came from but rather the elusive internal logic that remains resolute and unmoving through all crystals. Tooling is broken down into seven algorithmic techniques: spiraling, packing, weaving, blending, cracking, flocking, and tiling. While each of these algorithms can be used to describe and simulate certain natural phenomena in the world— such as the way a spiraling rule can simulate a hurricane—this book is invested in turning these rules into logics for construction. The term algorithm simply means a series of steps. Today, as modeling, representation, and fabrication technologies shift from manual to automated processes, this issue of algorithm is pressing precisely because it confronts the design of procedures themselves.
Baskets
To illustrate this, all algorithmic techniques in Tooling are presented alongside 1) a recipe, 2) shapes made by that recipe, 3) a project that uses that recipe within an architectural context, and finally, 4) programmatic computer code (www.arandalasch.com/tooling) making these recipes available to the widest possible audience. The recipe is vital to understand the basic steps in each algorithm. The maxim, “a problem well put is a problem half-solved,” is no less true in the formulation of architectural techniques. In fact, only when these steps are clearly stated can they really become an algorithm, a powerful packaging of logic that allows this procedural thinking to migrate inside and through various syntaxes, including software.
Input: Arbitrary Points Associate: Image Samper Output: Extrusion
Input: overlapping
ARANDA/LASCH As evidence of this transmissible character, the tailor-made computer code for each of the recipes and sketches can be utilized within the major 3D modeling software platforms being used by architects today. The intent in sharing these algorithms is to encourage diversity, allowing others to import, model, and evolve more critical and insightful tools. Algorithms also offer a non-technological implication in architecture. They break down the elusive and sometimes problematic phenomena of shape. Shapes are never unwilled figures. Deep within them is astruggle between the predilections of the architect and the inherent properties of the geometries encountered. The algorithm mediates these two, acting as a kind of solvent to liquefy them and create the potential for crystallization. Tooling traces the movement between this state of potential and manifest architecture. This movement, or movements, occurs in a dynamic space of interchange where the algorithms and the evolving diversity of figures that crystallize from them are in constant communication and formation with external pressures. The objective of Tooling is to both articulate this resonant field and show that one of the biggest challenges of algorithmic architecture lies in establishing very coherent, pre-material rules that can be used with mathematics and geometry to control this field. Once this field is defined as a flexible and open space, the job of designing begins.”
Output: extrusion
Input: Boolean Pattern Association: Image Samper Output: Data Driven Extrusion
Input: Boolean Pattern Association: Math Function Output: Extrusion
Week Four: Develop -Grasshopper Matrix Extrusion is a very useful tool to turn 2D lines into 3D model, it extrudes lines vertically so circles become cylinders, and triangles become triangular columns.
Input:Boolean Pattern Association: Math Function
Association: math function
Output: Data Driven Rotation
Output: rotation
Rotation is another mostly used tool in Grasshopper, it allows orderly ranged components to twist, sometime when we need to create curving shapes or making models more interesting in a dynamic forms, rotation help us save a lot of time. Input: Curve Intersection Association:Image Sampler
Input: surface grid
Output: Date Driven Rotaton
Association: Multiple Math Functions Output: Rotation
Input: Surface Grid Association: Image Output: Rotation
This is the most complex forms that being produced by combing three grasshopper definitions: Surface grid, Multiple Math function and Rotation. The surface grid allows producing a number of circles along rows and columns, Multiple Math Functions enables groups of circle at rows and columns weaves under certain amplitudes and finally the rotation output parameter allows to rotate columned circles in any direction to form any of the shape we want.
This is the most complex forms that being produced by combing three grasshopper definitions: Surface grid, Multiple Math function and Rotation. The surface grid allows producing a number of circles along rows and columns, Multiple Math Functions enables groups of circle at rows and columns weaves under certain amplitudes and finally the rotation output parameter allows to rotate columned circles in any direction to form any of the shape we want.
Name: Gantenbein Vineyard Façade Complete: 2006 Location: Switzerland Architects: Gramazio & Kohler
Week Five: -Research Project: Develop
Input: Arbitrary Point Association: Using Set Output: Shader
Shader: Just as its name implies, it provides shade effect, which can also change the angles and direction of shading in order to obtain different results.
Input: Arbitrary point
The design proposed a simple concreteShadow skeleton filled with bricks, – Play withthe sunlight masonry acts as a temperature buffer, as well filtering the sunlight for the fermentation room behind it. The bricks are offset so that daylight penetrates the hall through the gaps between the bricks.
Association: image sampler Output; Shader
On the exterior, by laying each one of the bricks at the desired angle and intervals allows to create a pattern that covers the entire building façade. According to the angle at which they are set, the individual bricks each reflect light differently and this takes on different degree of light. In the interior, the daylight that penetrates creates a mild, yet luminous atmosphere. Looking towards the light, the design becomes manifest in its modulation through the open gaps. It is superimposed on the image of the landscape that glimmers through at different levels of definition according to the perceived contrast. http://www. gramaziokohler. com/web/e/ projekte/52. html
This case shows how unpredictable architecture design could be, it interacts with a force that is a variable in every environment but the variations in sunlight give us different outcome. The concept of playing sunlight can be used in the gateway project because the site is very open and exposed under the sun; the design could be made to engage with the sunlight as the site got easy access to nature lights. There are many lighting effects for us to experiment such as Pinhole Imaging, Light Reflection and Refraction, each of them can create stunning effects, which may be useful for us in terms of generate ideas.
Reverse engineer: The tex-
tural effect has been created by simply rotating each brick based on a brightness input from Image Samper.
http://archrecord.construction.com/projects/interiors/archives/0509_4aoba-1.asp
Aoba-tei Restaurant Week Six: Develop -Case Study 2 “Aoba Tei places Abe at the forefront of a conversation taking place in architecture about the use of 3d modeling to create complex surfaces” ----- Barron
The architect wanted to relate the restaurant directly to the street—a six-lane commercial artery lined with gracefully shading Zelkova trees—but did not have permission to alter the existing curtain-wall facade. His solution was to distill an image of the trees into an abstract pattern of dots, and then punch them into a steel screen.
Architect: Naomi Pollock Location: Sendai, Japan
3d rendering of zelkova trees outside Aoba Tei
The making of this effect is just as interesting. The tree Emerging culture into design images were made from digital photos taken inside the zelkova canopy. The photos were then pixellated and applied to a surface designed to wrap the interior of restaurant, a process known in 3d game development as texture mapping. The difference is that Abe has brought this technique to life, drilling holes of varying sizes in sheets of steel, which were then shaped by marine welders to match the 3d model. When backlit, the trees render as pixellated outlines of limbs and leaves, enveloping the diners in a variation of shadows much as the zelkovas do the pedestrians outside.
Steel shape with pixelated trees punched out The capsule could not be pure in its geometry or symmetry because the restaurant’s two floor plates are sectionally out of alignment to accommodate the building’s entrance, at grade, and an emergency exit, upstairs, so the architect devised the S-shaped inner skin.
Prefabrication: Internal View During Construction https://ksamedia.osu.edu/media/27024 Judit Bellostes, http://blog.bellostes. com/?p=3664
Abe designed the perforated steel surfaces as a single continuous inner “skin”. This runs in an S-shape to contain both the reception area on the restaurant’s lower floor and the upper 30-seat dining area. Once the dot template was ready, it went to a steel fabricator, a shipbuilder-turnedarchitectural-supplier, who had the technical skills to bore the outlined holes into 0.09-inch-thick metal sheets, and then assemble the perforated-steel components with the precision Abe required. And the precast steel panel was delivered to the site and put together onsite.
What can be implied in your EOI? This example shows a very interesting way of emerging culture content directly into the design; it interacts with surface decoration by distilling an image of the trees into an abstract pattern of dots, and then punches them into a steel screen. The effect is one of uniformly muted illumination, recalling daylight filtering through the Zelkova trees along the street front. It simulates visual experience and cause people to think and question the complexity and intricacy of nature. For the gateway project, the installation on the freeway is not only a visual art component but also a landscape response. In order to balance of the two, the solution of restaurant Aoba-tei is really something we could learn from.
final street scene outside restaurant
Our design will also adopt precast factory design method; building components will be produced in factory and install on site. This will be taken into consider when designing the structure and material to ensure the possibility of factory production and site installation.
Week Seven : Fabricate
Reverse Engineer: Grasshoper: Image Samper
The architects Jesse Reiser and Nanako Umemoto in their project vector wall imagined ways that a simple laser cutter can perforate a rigid or semi-rigid material with multidirectional patterning, reinterpreting the common domestic partition wall and transcending a simple definition of space to become spatial in itself. Once cut, a flat steel sheet can transform into a volumetric, scalable, diaphanous scrim collapsing structure, volume, and enclosure all within the same system. Being inspired by this investigation I started my own research on the phenomenon of changing properties of material by perforating it with various laser cut patterns.
And what is also interesting is how this cut holes can engage with the light, through the previous case study, each individual element on the surface can reflect light differently when takes on different degree of light. So I begin with set the light in different angles as well as reshape the laser cutter in different forms in order to test its light effect and try to Then I start to make model in 3D rather than a flatterned surface, I founnd it interesting to combine geometric shape with perforated wall. The light penerates the wall through the hole to create visual effects and simutanously the geometic shape can perform a 3 dimentional artistic effect on the surface.
Week Eight : Fabricate -Folding Architecture “The outside is not a fixed limit but a moving matter animated by peristaltic movements, folds and foldings that together make up an inside: they are not something other than the outside, but precisely the inside of the outside.” Deleuze – Foucault p.96-97
Physical models used folding method to practice building geometry and constructability; these practices were collected at the instant before they would be completely transformed by the computer.
Frank Gehry used Digital Project to rationalize the fabrication and construction process.
Frank Gehry, Interactive Corp’s Headquarters, New York, USA
An early sketch of the building drawn by architect Frank Gehry in 2004.
Folding is a relatively new trend in architecture. It is very playful way of designing, which offers free rein to spontaneity and surprise during the design process. It is important to be willing to accept Deleuze’s theory of the fold to fully realize its potential in an architectural discourse.
Design continue to develop by using folding method to explain its morphology without taking recourse to digital visualization and mapping as an explanation for its form.
The task of Folding as a morphogenetic process in architecture design is to explore transformations of a single paper surface into a volume, with one constraint only, maintaining the continuity the continuity of the material. In the Folding performances, we can regard the paperfold as a diagram, which providing opportunities for refining and testing with the concept. We can appreciate the function of folding as a design generator by phase transitions.
Basic Technique
2.Diagonal Pattern Basis of this pattern is a parallelogram folded in its diagonal, out of a parallel position the edges are turned up diagonally.
Paper folding gives a very direct and intuitive perception and comprehension of geometry and rigidity of folded plate structures. By folding and manipulating paper, hands and eyes elaborate in a dialog a spontaneous understanding for the potential of such forms.
Reverse fold
Folding Pattern 1.Yoshimura Pattern (Diamond Pattern) This pattern can be obtained by mirroring a reverse fold at its inflection point K and on the base point of its side creases S. The curve of the folded pattern is designed by the shape of the diamonds, the result is a hexagonal pattern formed by symmetrical trapezoids.
3.Miura Ori Pattern (Herringbone Pattern) As the diamond pattern, this pattern can be obtained by a repetition of reverse folds. Instead of mirroring the reverse folds they are repeated in line so that the main crease describes a zigzag line. The pattern is composed of symmetric trapezoids that form a herringbone tessellation.
Generating Complex Folding Patterns
Basic elements
Typical profiles of parallel corrugation
Generating polygonal line and external angle
Variations of folded patterns generated by a section profile and a corrugation line Geometrical analysis showed that the folded patterns can be generated by two polygonal lines. This allows representing rapidly complex folded plate structures in space as well as unfolded. A great variety of forms can be generated. For the moment the type of form is limited to simple curved surfaces. In paper folding some patterns can easily be deformed to double curved surfaces with radial or spherical form.
Three pairs of connected basic elements
Edge line parallel to the form generating line
Perspective of the generated fold
Assembling of the prototype
AMMAR ELOUEINI, DIGIT-ALL STUDIOS. California
Rehearsal at the MCA in Rehearsal at the MCA in Chicago September 2003. Chicago September 2003.
Rehearsal in New York, October 2003.
Digital Fabrications
Digital Modeling and Fabrication is a process that joins architecture with the construction industry through the use of 3D modeling software and CNC machines. These tools allow designers to produce digital materiality, which is something greater than an image on screen, and actually tests the accuracy of the software and computer lines.
As opposed to creating a back-drop or immobile form for the stage, the set was designed as a morphing structure that allowed the dancers to engage directly with the piece.
The set in its travel 4x4 box
Assembling the set.
computer modelling and fabrication integrate the computer assisted designs with that of the construction industry. In this process, the sequence of operations becomes the critical characteristic in procedure. Architects can propose complex surfaces, where the properties of materials should push the design.
“Fluid on-screen forms in a complexly bent plane of translucent white polycarbonate panels, joined with plastic zip ties and suspended on cables just above the stage floor.” ---- Eloueini
Unfolded geometry.
Jasperse describes the set as “architecture of expectation.” Eloueini, like so many adherents of digital architecture, struggles with the unfamiliarity of his adopted tongue. Wittingly or not, Eloueini has have assumed the burden of the historic avant-garde, exploring the potentials and limitations of a new design tool before colleagues, contractors, clients, or the publicat-large have had the time to adjust. The design was modelled from a complex computer generatedgeometric surface. Using a basic fabric pattern layout, the design was unfoldinto individual segments that could work as individual pieces that togetherformed the surface. The primary material is polycarbonate that maintainstranslucency and reflectivity so the piece absorbs and diffuses light. Zip-tiessecure the pieces allowing for flexibility and ease of construction. This setcan be created in hours, and broken dowm and packed into boxes to be recreatedelsewhere.
Issey Miyake Pleats Please Berlin
The Pleats Please space in Berlin designed by Eloueini intends to give to the space a unique environment that reflects Miyake’s personality and his approach to fashion. All of the design components relied on the use of Computer Numerically Controlled (CNC) machines and then being fabricated in Chicago then shipped and assembled in Berlin. There are two materials used within the space: aluminium and polycarbonate. The aluminium serves as the structure supporting the wall polycarbonate panels, the racking system and table structure. Polycarbonate is used to create the organic surface and table top. The surface is modelled on the computer, unfolded using 3D software. The lightweight polycarbonate material and zip tie fastening creates a system that is both easy to transport and quick to assemble.
For our gateway project, it is very important for the installation to be easily transport and quick to assemble, we should consider these aspects as main design strategy. In order to service dynamic and structure function, digital fabrication seems to be the right answer for it. Under the help of CNC all the design components would be able to unfold and break into pieces and so much so being fabricated and deliver to the site to assemble. Folding architecture provide us the technique to create a dynamic surface that can be modelled in 3D software and also be able to perform unfold for later fabricate.
Modelling