Transparency Bjarke Ingels Vancouver House Philip Johnson Glass House Faรงade recreate with Shape Machine By Plan
Chang Wen Yi
Content
Introduction and Preface Ch1. Where to start? Ch2. Transparency Ch3. Transparency II: Layering of Planes/Layering of Spaces Ch4. Layering & Stratification of Frontal Planes Ch5. Facade Generator Ch6. Facade -Bjarke Ingles Ch7. Facade Generator -Telus Sky Tower AP1. Other way: View Factor From Thermal Radiation AP2. The Golden Ratio For Architects AP3. Plan to Facade Bjarke Ingles The Vancouver House AP1. Other way: View Factor From Thermal Radiation Ch7. Wrap it up Reference and Disclaimer
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Introduction and Preface
My self and Design Le Corbusier:"Architecture or Revolution" Remove the building decoration, details, the building will be presented in a block way, called the Mass. The volume can be seen the basic shape of the building, the building body of the cutting method, as if cut Polaroid board, or Play a piece of wood, a piece of elements cut or attached, so that the whole building with artistic Architecture is a very important part of my life. Academics were never my forte starting from the time I was a child. I always thought people would be fine as long as they could find a profession they were good at, but during my time at school I realized that perhaps this statement did not apply to me. However, my attitude changed completely when I started studying architecture in 2013. I began seeing some rays of light. My interest in architecture has developed in leaps and bounds since I began studying it. Only architecture has been able to hold my interest, and I have worked hard to learn it and enrich myself. I believe all my efforts have been worth it, because I have found my direction in life. I am now traveling down this path, and I don’t ever want to slow down.` I met many wonderful professors and friends during my university years. Luckily, my works were also held in high regard, allowing meto take part in many competitions. I am very grateful for all the events that occurred in my life as a result of architecture. Architecture allowed me to learn new things and meet new people. For me, it is like a personal life coach. This is why I will always maintain a selfeffacingand reverent attitude towards it. This is also the attitude I have when I create. Graduating from university was a new beginning for me. I hope to continue to develop my potential in architecture, and learn more relevant knowledge. I will work hard no matter where I end up in the future. I am grateful to architecture for everything it has given me,and for everything that occurred during my time at university. I don’t know what my future holds, but I am utterly convinced the bond I have with architecture will bring me to a place where I can realize my dreams and simply be myself.
Tilings/ Vincent Chang
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Ch1. Where to start?
Shape grammar and Plan connection Architeture design still a mystery for many many people outside the firms. For me shape grammar can answer a lot of question for that. Back to the time when I was a first-year student in B.Arch, my father told me a design method about building plan to facade and then to section . At that time, I was stunning and surprised. Plan to facade to model and finaly to section. All step connects each other. I still remembered that when I actually started to do the design I discovered every time I tried to modified the plan the section and facade will start to fall apart. I started to notice that their might have connection between each of them. In the past, people don’t have any modern technology. Architects only use their hand and model to check their design. They generate some of their way. Each of the designer or architects all have their own way to create their own design and they pass their method to other people or student. Students not only use their grammar but also combine other things from their life and finally generate a new method. Just like my father, he told me his way to fulfil his works. I create my own way based on his method. I think most of the architects also do the same things. Le Corbusier is a very good example. He creates a lot of stunning buildings. His architecture also effects other famous architects. The architects include Norman Foster, Mies van der Rohe, etc. However, enven himself also impacted by other. Corbusier himself also affected by Paul Cézanne. Some of his plan and faced do learn from most the painting’s technique. To learn how Corbusier main theory about plan and facade we start analyze Paul Cézanne’s paint technique. Paul Cézanne - Góra Sainte-Victoire
Villa Stein, Le Corbusier
Based on these painting from Paul Cezanne we understand that something about the facade. Most of the drawing are try to imitate the reality. The mountain and lake. In reality all things or scenery are 3D most of them can be 4D. Why Cezanne wants to pick these angles to draw the mountain? Why the lake scenery must have a tree next to it? Last but not least, why we know these pictures are the front view of the real things? To solve this question is the main reason that I want to talk about plan to facade. I try to understand every architects’ design method when they talk about the plan and other drawing. This can extend into the method how they treat their architecture. Some architects may think facade and plan are highly connected other may think plan and diagram model are highly connected but others don’t. Just like the painting draw by Paul Cezanne or building designed by Le Corbusier. They all try to use the different way different angle try to tell us their project. However, is there any theory that can help us understand that ? Since most of the works I mentioned below is already far away from us. In the next chapter I’ll tried to anlyze these connection based on the lecture written by famous expert of Le Corbusier. That is Colin Rowe’s Transparency.
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Ch2. Transparency
Transparency and facade and plan To understand the relationships between plan and facade we must start to understand the noun transparency. Transparency is one of the most important and still controversial in terms of contemporary architecture. Many expressions or architectural expressions have been expressed within itself and are still being continued. Colin Rowe and Robert Slutzky, through their transparency with their “Transparency: Literal and Phenomenal”, have succeeded in bringing a very new perspective to modern architecture. This new viewpoint has opened up a new dimension by adding the angle of the previous viewpoint. That is to say, literal transparency is described by Rowe and Slutzky on the surface quality by advocating a light architecture where everything is quite clear through the transparency of the material and the surface quality (Rowe & Slutzky, 1982). For example, it is closely related to the transparency of a material, and the fact that all the events and circumstances behind it are revealed by literal transparency. On the other hand, it is aimed that transparency, in fact, is always a curiosity and ambiguity, since this is not enough expression and a transparency over a new spatial organization. Transparency entails wider spatial order rather than being an optical feature. Transparency means the recognizing the different spatial and spatial organization (Rowe & Slutzky, 1982). The main purpose of this paper is to study spatial stratification by taking Rowe and Slutzky’s article as the main reference and the advantages of spatial stratification to spatial organization and spatial transparency through case studies. These case studies; Bauhaus by Walter Gropius in terms of literal transparency that implies the material and surface quality, On the other side, examples are designed by Mies Van Der Rohe, Barcelona Pavillion is one of the best-known examples of contemporary architecture through spatial layering. Other examples are Jean Nouvel’s Fondation Cartier, Adolf Loos’s Villa Müller. Samples will generally be tried to be addressed through spatial transparency, with reference to phenomenal transparency.
It is an undeniable fact that literal transparency is related with the perceptual, easily definable spatial qualities which are related to the transparency levels of the materials. It is a transparent display that clearly expresses what is behind it without the need for doubt. Walter Gropius has also made it clear in his works that the transparency of the material and the transparency are clearly visible in the background. Bauhaus designed by Gropius is a real example of the literal transparency in terms of used material on the facade of the workshop spaces that glazed facade. That glass facade allows people to see what happens inside the space clearly and without any ambiguity. Also, create a permeability in term of view of the observer
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Fondation Cartier is designed by Jean Nouvel in Paris 1994 which is one of the earlier buildings of the architect uses the same self-sacrifice as the surface transparency and precision of Nouvel’s recent designed constructions. There is a designed play with the indoor and outdoor is very convenient because it creates an openness that invites people to experience both near and remote buildings . The “play” to be told is spatially sensed and actually defines a space between the actual structure and the vertical steel construction surfaces. The spatial organization defined by the layering of these surfaces is also felt as a “play”. Both the layering of surfaces that reference this spatial organization of steel surface structures of ambiguous transparency that playing with the perception of spatial organization and the easy readability of the back to back scenario using highly transparent materials and matrices are examples of the literal and phenomenal transparency of Colin Rowe and Robert Slutzky. In fact, when examined in the plane of the building plan, the steel surfaces near the road are aligned to the starting line of the structures on the other two sides of the ground. This could be one of the spatial games of phenomenal transparency. The green space is defined between the main structure and these steel structures and is actually located as a structure within the structure. In other words, it was made as a green space, with the usual walls and enclosed spaces. Transparency of space in space. The intervening and defined green space actually offers an invitation to people and this layering contributes to the spatial organization.
By connecting, layering, and revealing the private spaces can be implied in the building as a number of actions the life style of the users become open means transparent. The dialogue between inhabitants and space can develop . “Transparency means a simultaneous perception of different spatial locations. Space not only recedes but fluctuates in a continuous activity” (Kepes quoted in Rowe & Slutzky, 1982) . As Rowe and Slutzky also refer to in their articles, transparency must go beyond just being expressed by a material. An explanation of this is over the phenomenal transparency. In this discussion/paper it is aimed to examine the structures by making spatial organizations together with layers of surfaces. One of these examples is the Barcelona Pavilion, a structure that Mies Van Der Rohe has created through the labyrinthine walls and even behind these walls, an area that can be perceived as an example of layering over phenomenal transparency. The building built in Germany, 1929. The stratification seen in Mies’s Barcelona Pavilion is spatially reshaped, and this stratification adds spatial enrichment. The opaque walls come after each other with shift-like operations, giving clues about a back space. Also, most importantly, it is the purpose of the human being to perceive that it is a space behind that opaque wall. This purpose actually provides a very effective perception even though it is made with several opaque surfaces, ie walls. This perception and transparency achieved by stratification can be seen as a clear example of phenomenal transparency. That is, these two-dimensional situations, opaque surfaces, are not capable of creating space on their own. Layer and depth are the norm [6]. The phenomenal of transparency in the background is as far as the literal transparency is concerned. The pavilion’s front is made entirely of transparent glass and can be said to be very effective in reflection. The two transparencies that Rowe and Slutzky try to describe can be seen as appropriate. Because the real thing that Rowe and Slutzky argue is that transparency is not enough with just the material. Transparency must be able to beyond from the transcend material what is advocated in this new discourse.
Spatial layering in barcelona pavilion-Vincent Chang
Layering-barcelona pavilion by Mies Van der Rohe- Vincent Chang
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Another example of the processing of phenomenal transparency is Villa Müller, designed by Adol Loos in 1927-1928. Spatial continuity is made not by the elimination of the walls, but by the vignettes towards the wide openings and framing. Despite being designed almost fifty years ago by Villa Müller, Colin Rowe, and Robert Slutzky’s article, it is still a good example of phenomenal transparency. Arranging the opaque walls behind each other and shifting them by a certain measure shifts the observer to the observer in the background, despite the use of opaque materials in the background, which is not actually exposed with literal transparency. Spatial layering also provides spatial continuity. The diagonal section of this structure can be clearly seen. It is possible to see this spatial organization, which is gained from the layering, from the plans and the perspective collages.
Villa Müller, by Adol Loos
Villa Müller Scetion, by Adol Loos
To sum up, transparency is one of the core concepts of architecture and key design tools. Colin Rowe and Robert Slutzky have come to a new perspective on transparency and modern architecture, explaining what is known as literal transparency are not enough that everything that does not provoke any curiosity is clear enough easily perceivable, and that transparency must be explained by the spatial organization in fact transparency. Spatial stratification, that is, using opaque materials, and shifting only those opaque materials, framing the spaces behind, was a new perspective to bring transparency to the formation of the spatial organization to observer/human. This new point of view also adds new things to transparency. Transparency over spatial organization has been tried to be done with layers and stratification as well as case studies. Villa Müller facade analysis by Colin Rowe & Robert Slutzky
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Ch3. Transparency II: Layering of Planes/Layering of Spaces
Literal Transparency vs Phenomenal Transparency, Real Transparency vs Seeming Two Modes of Transparency: Literal & Phenomenal The key aspect to Rowe and Slutzky’s seminal essay on Transparency: Literal & Phenomenal, is the distinction of the two types of transparency, a literal transparency, which will be later described as perceptual transparency, is a quality inherent to substance or matter, such as in mesh screens, translucent walls, etc, and a phenomenal transparency, that is, a conceptual transparency, a quality inherent in the spatial or volumetric organization (Rowe & Slutzky, 1982). Rowe and Slutzky, quotes Gyorgy Kepes for defining transparency as a result of transparent figures interpenetrating each other without optical destruction, but transparency also implies something broader than optical effects, as it also includes spatial effects. “Transparency means a simultaneous perception of different spatial locations. Space not only recedes but fluctuates in a continuous activity” (Kepes quoted in Rowe & Slutzky, 1982). This overlapping and interpenetrating of figures conjures an ambiguity or contradiction of spatial dimensions. The concepts and conditions of transparency parallel movements of Relativity theories and their implications; where spacetime relativistic thinking allows for two objects to co-exist simultaneously in the same space and time, as such transparency is a space-time condition of betweeness, a simultaneous perception of space. Müller House, 1929-30, Prague, Adolf Loos: Raumplan as a succession of layered spaces
Perceptual vs Conceptual Transparency: Eye vs Mind, Looking vs Reading To introduce new terms into the dialectic of transparency, one can appropriate the terms of Sol Le Witt, and the Conceptual Art movement of the 1960s, in order to reinterpret Transparency as being perceptual or conceptual. Le Witt contrasts the two as follows, “Art that is meant for the sensation of the eye primarily would be called perceptual rather than conceptual” (Le Witt, 1967). Le Witt adds that, “Conceptual art is made to engage the mind of the viewer rather than his eye or emotions” (Le Witt, 1967). Juxtaposing the terms and definitions, Literal transparency can now be seen as a kind of Perceptual transparency as it engages the eye, whereas Phenomenal transparency can be understood as a Conceptual transparency which engages the mind of the viewer, in one’s interpretation or reading of spatial organization. Here one can differentiate between the operations of ‘reading’ and ‘looking,’ “’Reading’ opposes itself to ‘looking’…as a different kind of visual attention” (Osborne, 2002). Perceptual transparency is a transparency of looking, as the transparent conditions arise due to an overlapping of material or substance, whereas Conceptual transparency is a transparency of reading, thus engaging the mind of the viewer or reader, in order to interpret and understand successive layered spaces as modes of transparent phenomena.
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Transparency: Simultaneity & Interpenetration Rowe and Slutzky states that any Cubist canvas of 1911-1912 could serve to illustrate the presence of the two orders or levels of transparency, that is, literal and phenomenal, involving the fusion of temporal and spatial factors, and mentions that Cubism was a premonition of relativity invoking the fourth dimension (Rowe & Slutzky, 1982). The typical Cubist motif is described as consisting of “figures…intersecting, overlapping, interlocking…building up into larger and fluctuating configurations” (Rowe & Slutzky, 1982). In the various manifestos of the Italian Futurist art movement of the early 20th century, key notions of simultaneity, intersection, and compenetration of planes marks the movement’s interest in the expression of dynamism and movement in visual art. The Futurist artist, Umberto Boccioni, in his representation of movement, studied and employed the simultaneity and consequent interpenetration or compenetration of planes, force-lines, and the decomposition of objects, in order to produce dynamism in both painting and sculpture (Coen, 1988). Petrie in his article on Boccioni and Bergson attempts to draw the possible linkages between Boccioni’s ideas of simultaneity and interpenetration with Bergson’s notions of intuition and duration. Intuition acknowledges movement as being indivisible; and Bergson refers to the time sensed by our intuition as la durée, duration (Petrie, 1974). Petrie mentions that time, duration, and movement were central for both Boccioni and Bergson, as “It was only through movement that the ‘living experience of the object in its very becoming’ could be conveyed” (Petrie, 1974). “Absolute motion is then, for Boccioni, ‘the motion that the object has within itself, whether at rest or in movement’. The artist must therefore intuit this motion in terms of lines which will reveal ‘how the object would disintegrate following the tendency of its innate forces’. And the interaction of these lines, these forces, will denote…‘interpenetration’ (Petrie, 1974).” Hence duration, transparency, and simultaneity, executed in the intersection and interpenetration of lines and forms in the image’s movement, for Boccioni and the Italian Futurists, expressed the exaltation of speed as the affirmation of modernity. “Place, time, form, and color coexist in a single composition conceived to bring out the object’s dynamic reality through a simultaneity not limited to the simple unfurling of an action in time but embracing all the elements that could convey the sensation of speed visually.” (Coen, 1988)
French Cubism & Italian Futurism – (left): Picasso’s The Clarinet Player, 1911 – literal transparency in Cubism, a figure in deep space, (middle): Braque’s The Portuguese, 1911 – phenomenal transparency in Cubism, a shallow flattened extended space, & (right): Boccioni’s Futurist painting – States of Mind II: The Farewalls, 1911.
Rowe and Slutzky states that any Cubist canvas of 1911-1912 could serve to illustrate the presence of the two orders or levels of transparency, that is, literal and phenomenal, involving the fusion of temporal and spatial factors, and mentions that Cubism was a premonition of relativity invoking the fourth dimension (Rowe & Slutzky, 1982). The typical Cubist motif is described as consisting of “figures…intersecting, overlapping, interlocking…building up into larger and fluctuating configurations” (Rowe & Slutzky, 1982).`
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In the various manifestos of the Italian Futurist art movement of the early 20th century, key notions of simultaneity, intersection, and compenetration of planes marks the movement’s interest in the expression of dynamism and movement in visual art. The Futurist artist, Umberto Boccioni, in his representation of movement, studied and employed the simultaneity and consequent interpenetration or compenetration of planes, force-lines, and the decomposition of objects, in order to produce dynamism in both painting and sculpture (Coen, 1988). Petrie in his article on Boccioni and Bergson attempts to draw the possible linkages between Boccioni’s ideas of simultaneity and interpenetration with Bergson’s notions of intuition and duration. Intuition acknowledges movement as being indivisible; and Bergson refers to the time sensed by our intuition as la durée, duration (Petrie, 1974). Petrie mentions that time, duration, and movement were central for both Boccioni and Bergson, as “It was only through movement that the ‘living experience of the object in its very becoming’ could be conveyed” (Petrie, 1974). “Absolute motion is then, for Boccioni, ‘the motion that the object has within itself, whether at rest or in movement’. The artist must therefore intuit this motion in terms of lines which will reveal ‘how the object would disintegrate following the tendency of its innate forces’. And the interaction of these lines, these forces, will denote…‘interpenetration’ (Petrie, 1974).” Hence duration, transparency, and simultaneity, executed in the intersection and interpenetration of lines and forms in the image’s movement, for Boccioni and the Italian Futurists, expressed the exaltation of speed as the affirmation of modernity. “Place, time, form, and color coexist in a single composition conceived to bring out the object’s dynamic reality through a simultaneity not limited to the simple unfurling of an action in time but embracing all the elements that could convey the sensation of speed visually.” (Coen, 1988)
Le Corbusier’s La Roche House/ Le Corbusier’s Cook House
Sigfried Giedion describes in his book, Building in France, building in iron, building in ferroconcrete, “By their design, all buildings today are as open as possible. They blur their arbitrary boundaries. Seek connection and interpenetration” (Giedion, 1995). Giedion relates the notion of intepenetration to both Le Corbusier’s paintings and buildings, with reference to Jeanneret 1924, he writes, “Just as transparent objects interpenetrate in the painting, so Corbusier with every means also lightens the traditional gravity of the house” (Giedion, 1995). Air flows through Le Corbusier’s houses; there is only one indivisible space where the shell falls away between interior and exterior – spatial interpenetration (Giedion, 1995). Transparent simultaneity exists in Le Corbusier’s Cook House, where the exterior roof terrace space and the adjacent interior spaces blend and merge together by means of an interlocking gesture (Giedion, 1995).
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Ch4. Layering & Stratification of Frontal Planes: Layering in Le Corbusier’s Work
Rowe and Slutzky mentions that, “[Stratifications], devices by means of which space becomes constructed, substantial, and articulate, are the essence of…phenomenal transparency” (Rowe & Slutzky, 1982). The layering and stratification of frontal planes is evident in both Le Corbusier’s paintings as well as his built works. Articulated layered compositions, through the device of stratification, typifying phenomenal transparency are seen in Le Corbusier’s Still Life of 1920, which is then applied to the design of his Villa Stein in Garches of 1927/28. The axonometrics demonstrate the layered configurations of both works; they appear to stretch out and expand the various constituent layers of their flattened conditions as painting or elevation. Eisenman describes the flattened layered elevations of Le Corbusier’s painting and his Villa Stein as being plans tipped to an upright position, allowing one to simultaneously perceive the whole from a singular viewpoint (Eisenman, 2007).
(left): Axonometric of Le Corbusier’s Still Life, 1920; layering of frontal planes, & (right) Le Corbusier’s Still Life, 1920.
(left): Axonometric of Le Corbusier’s Villa Stein at Garches 1927/28; layering of frontal planes, & (right): Le Corbusier’s Villa Stein at Garches 1927/28.
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Ch5. Facade Generator
Last assignment for the use of Shape Machine: This assignment I talked about how shape machine can help you improve your daily life. For me the things that always annoying me is that every time I design a brand-new project, I always have to use the plan to generate my facade and section. After finished the facade and section, things cannot be always work smoothly in the same time. Sometimes, plan or facade might have clearly conflict between each other. Modify back and forth between plan and facade are the normal routine for every project. In order to solve this problem, I came up with the shape machine that usually help me solve cumbersome work. 1.Position the place where columns can be put and generate the column line. This can help designer to come up some variation based on the grid that generate from the column line. In this exercise I use the general column distance(8400mm) to demonstrate basic column grid. 2. The grammar can also help designer to generate different kind of structure. In this part, I use the grammar that can designer to generate overhang structure. 3. Generate the beam line for each floor. In this part beam line designer can generate their own grammar depend on their floor height. 4. Generate facade windows. Based on the vertical line on each structure floor facade, I use this characteristic to help the machine to position the windows 5. Create variation. This part all grids are already generate. Designer can start to run any variation based on the structure Grammar for Basic construciotn line to formal facade
Facade and construction line based on the grammar
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History of the grammar
Different srtucture testing process
Varation based on the grammar
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Ch6. Facade -Bjarke Ingles
My Hero Bjarke Ingles is my architecture hero. Most of his design method do inspire me a lot. I think it would be a good way to start to extend my project into most of his design project. Most of the building I chose, were from his high-rise housing. The interesting things is Bjarke Ingles grammar are vary from time to time. Each time range discribe different kind of facade type.When you go on the website you can see its project timeline. It seems that each of the project is fully sperated. However, when you start to look carefully from each project to each project, there were some rules in it. The rule is array from time to time.
Model driven or rules? How do people think about BIG? I think most of them will say its project is very model driven. Most of the design are used model or diagram to design. Some people may think this is BIG’s project. However, when you try to zoom in carefully, there are some rule in it. For the facade part, I discovered that each project’s facade is very similar between two each two years. (We not gonna talk about plan in this essay.) The interesting things is that the same catergory of the project BIG will try to use similar facade grammar. Just like a kind of template. Even the grammar that used in the past will still come out and reused in recent building.
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Facade in 2012 -2013 high-rise Let’s look at the high-rise building in 2012 -2013. We can find out that the grammar is very the same. Not only the grammar in office building but also the grammar in living buidling. Vancouver House/ 2013
Marinna Loft/ 2013
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Telus Sky/ 2014
BSN7/ 2014
Facade in 2016 high-rise Let’s look at the high-rise building in 2016. It is intereasting to find that the grammars I analysis are used by the building in 2016 again.
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ARR/ 2017
SBANK/ 2017
W57 2017
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Ch7. Facade Generator -Telus Sky Tower
Extend the Motif I used the method I did it at the last assignment in Motif to generate the grid of the building. This can also make other kind of grid in BIG’s project. According to the BIG’s design, this method can kind of simulate the diagram of his building. The different grammar I have is to generate the different kind of diagram he make. In the end, I will generate my own variation. Grammar
History
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Model driven Base on my discover, most of BIG’s projects form do based on diagram and model. However, the grammar what I am trying to do is generate a type of grammar that can generate facade. According to my research below, the facade can be the bridge that make 2D has close relationship with 3D. With these grammar, architects can use these to come up with some different variation of 3D models’ facade. Next grammar I proposed a type of grammar to positioning simbles that will generate envelope in front of the facade. At this time I will generate the envelope first and then I will generate building. The reason is that buidling construction in this project is behind the envelope. Grammar
History
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Envelope generate Based on the position point I generated, the other grammar is to create the signature envelope of BIG. The zig zag line is to create the distance between each envelope. Depend on the architects’ grammar these grammar can help. Grammar
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Building Construction Generate Based on the grid I gernerated before, I input the kind of motif that can also change into another different kind of motif. The motif can also change into other kind of facade materials. Grammar
History
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Variation
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AP1. Other way: View Factor From Thermal Radiation
View Factor According to the previous study we noticed that the plan has highly connection with facade. However, is there any method or matrix that can prove the way to transfer plan to facade? or the connection between each other? After look into the heat transfer textbook from MIT, there are some bunch of matrixes about how thermal radiation deal with the position between each thing. These are called view factor. In radiative heat transfer, a view factor, F A to B, is the proportion of the radiation which leaves surface A that strikes surface B. In a complex ‘scene’ there can be any number of different objects, which can be divided in turn into even more surfaces and surface segments. View factors are also sometimes known as configuration factors, form factors, angle factors or shape factors. Because radiation leaving a surface is conserved, the sum of all view factors from a given surface Si is unity:
For example, consider a case where two blobs with surfaces A and B are floating around in a cavity with surface C. All of the radiation that leaves A must either hit B or C, or if A is concave, it could hit A. 100% of the radiation leaving A is divided up among A, B, and C. Confusion often arises when considering the radiation that arrives at a target surface. In that case, it generally does not make sense to sum view factors as view factor from A and view factor from B (above) are essentially different units. C may see 10% of A ‘s radiation and 50% of B ‘s radiation and 20% of C ‘s radiation, but without knowing how much each radiates, it does not even make sense to say that C receives 80% of the total radiation.
View Factor/ Wiki Pedia
How to use ? I assume this matrix can be seen as a projection matrix between each point. When counting the point on the plan can be treat as A and the same point that A project on the facade is B. We can use the matrix to count the proportion between each point. These may give us a clue how plan point transfer to facade point. According to the matrix told by the textbook, there are also some different shape matrix that help people to finish the projection between each other. It can also be used on project the point on plan into different kind shape. With the matrix’s help we overcome some weird shape that created by the architects. We may also know the secret between the” plan shape” and the “facade shape “.
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View Factor/ Wiki Pedia
Nusselt analog A geometrical picture that can aid intuition about the view factor was developed by Wilhelm Nusselt, and is called the Nusselt analog. The view factor between a differential element dAi and the element Aj can be obtained projecting the element Aj onto the surface of a unit hemisphere, and then projecting that in turn onto a unit circle around the point of interest in the plane of Ai. The view factor is then equal to the differential area dAi times the proportion of the unit circle covered by this projection. The projection onto the hemisphere, giving the solid angle subtended by Aj, takes care of the factors cos(θ2) and 1/r2; the projection onto the circle and the division by its area then takes care of the local factor cos(θ1) and the normalization by π. The Nusselt analog has on occasion been used to actually measure form factors for complicated surfaces, by photographing them through a suitable fish-eye lens. (see also Hemispherical photography). But its main value now is essentially in building intuition
View Factor use in Thermal Radiation/ MIT Heat Tranfer Textbook
The Secret number The outcome of the proportion actually looks the same as the heat transfer textbook. It is between 0 - 1. However, is there any clue about the actually number that used on the building. Is the building floor height have connection proportion with the matrix? or the proportion have some range that all architects follow inadvertently when they design? I will try to talk about these things in the next chapter.
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AP2. The Golden Ratio For Architects
Golden Ration Back to ancient time Golden Ratio is widely use on the architecture. With the ratio’s help people can kind of simulate the design method in a very basic way. There are many aspects talk about the Golden Ratio. In mathematics, the Golden Ration is two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The Golden Ratio not only illustrates the geometric relationship but also applicate on geometric projection.
A golden rectangle with longer side a and shorter side b, when placed adjacent to a square with sides of length a, will produce a similar golden rectangle with longer side a + b and shorter side a.
A regular square pyramid is determined by its medial right triangle, whose edges are the pyramid’s apothem (a), semi-base (b), and height (h); the face inclination angle is also marked.
The projection porpotion After using the normal rectangular plan to test, I discovered that the matrix I mentioned in Ch9 can be used in the way to transfer floor plan to facade drawing. I assume this method can work because due to the shape between the plan shape and the facade shape all follow the geometric theory that George Stiny mentioned in shape grammar. The theory is” Similarity”. The different between each other is the number of proportion that the plan shape have to follow. With the matrix’s help, we now can get each line decrease or increase’s proportion and then turn the number into the actually distance the facade want.
Width 2
Width 1
Width 2
Width 1 * F1-2 = Width2
Ration for Architects Width 1 * F1-2 = Width2
These number end up be a very interesting number. It turns out that every architect all have their own ratio for the plan and facade. The interesting things is people can use this grammar to create or copy their design. The proportion can actually do the transformation work for each architect. In detail, I will demonstrate some examples below.
A-3
BIG The Vancouver
Ratio of the building :0.38 The first case I chose is from my hero in architecture --Bjarke Ingles. This case can also test the whether the grammar can be used in non-rectangular form architecture. The outcome did surprise me. For this case’s detail information, I will talk about it and generate it in later ‘s chapter. BIG Shenzhen Energy MansionHouse
Ratio of the building :0.38 As same as most of the skies scraper that designed by BIG, the ratio of the build is still very similar. This time the building I chose was more rectangular. The reason is that I not only want to make sure the method can be used in weird form but also used in normal form. This is also very obvious that BIG’s project is very kind of model driven. Most of their design can be done based on this ration and add some variation. Philip Johnson The glass house
Ratio of the building :0.34 To be simple and classic, Philip Johnson’s might be a very good case to study. The ratio is very simple and precise. This can also demonstrate how facade and plan affect each other. It does come up with some ration bund together. The things that really surprised me is that no matter what the architects’ generation they are. They all come up with their unique number.
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Philip Johnson The Sony Tower
Ratio of the building :0.345 Another case from Philip Johnson, this is the famous modern high-rise building. The Sony tower’s facade has a high connection with its plan. This can also address Philip Johnson’s ratio. Le Corbusier Villa Stein – de Monzie
Ratio of the building :0.55 Back to the classic. Le Corbusier’s famous project that Rowe talk’s in his book also follow the own ratio of its building. On the number part the building ‘s ratio kind of like separate the part for each floor. Le Corbusier Villa Savoye
Ratio of the building :0.56 Another famous villa from Le Corbusier. This also follow the rule that Villa Stein. It is also interesting that if people want to create the same villa stein or Savoy, the ratio is very important.
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AP3. Plan to Facade Bjarke Ingles The Vancouver House
Grammar for BIG After all the research I did in formal chapater. Here is how I generate the BIG’s Vancouver House. The whole part is buch of grammar that I used in the shape machine to position the right place for using the view factor. The other part is for machine to position the window’s areas. Although I am not very sure most of the plan is correct or not, I think for a long tern of study this problem can be solve. Grammar for project point to facade line based on view factor
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Grammar for turning vertical to horizontal
Grammar for cleaning special form of the building
The Plan Problem In this part I encounter some problems. The Vancouver House plan is not clear enough for each floor. These may cause some of grammar cannot be test buy the whole design. This is one of problem about this project. To be sure I decided to separate each floor and tried to combine them together. Although the plan is not correct, I can still try to merge them together to make it have connection with plan. In the follow are the history and grammar that I used for merging each floor together and then turn it into the whole facade. I will start to work on other project that is more general and clearer that can not only test my grammar but also make sure my theory is correct. This will be talked in the next chapter.
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Grammar for merging each floor
History and Process
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History and Process for merging each floor
Appendix I was very honor to finish these series. Bjarke Ingles is my architecture hero. This project not only does it for the research but also do it for myself. During the process, there are many problems but I think the final one is doing very well. I also discovered that most of the project that BIG finished were mostly model driven. This is interesting. We can also discover each architects’ design method during the process. This series of grammar can not only help people start to generate the build’s facade but also make start to understand how famous architects’ design method. This research is also a good tool for education, For the process people can start to use this grammar to generate the other BIG towers or be part of them use these grammars to create NEW BIG.
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AP4. Plan to Facade Philip Johnson The Glass House
Grammar for Glass house In order to make sure the formal research is doable I tried to take the simple example to analysis. The project I chose is Philip Johnson’s Glass House. The main reason I chose this project is that it is not only a famous modern architecture example but also the example that plan and facade connect together. The glass can to only be the facade of the building but also the space extension for the whole inside space. In the follow are the grammar that study from the project.
Grammar for cleaning plan
Change plan into shape line In this part’s grammar I am going to change the normal plan into shape line. This will make shape machine easier to rec-ognize different line and turn complicated plan into clean shape line. With this step’s help later shape machine can use this general type of model to generate facade. The other point to clean the original plan is to clean the design’s layer. In the later step, I would like to use different layer. This step can help me clear all ex-layer before I start.
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Grammar for generating facade
Facade Grammar In this part’s grammar I tried to use the view factor ‘s proportion to generate facade grammar. In most of the grammar use the same method that I did in BIG Vancouver House. However, this time the view factor I used is the Philip John’s view proportion. The other problem I encounter is the way to generate the circle inside the plan. The glass house is famous for its circle in the glass box. In this part I tried to use the grammar to generate the opposite of the facade. On the other way, I still cannot find the way to generate transparency grammar in this part.
History process for the grammar
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Ch 7. Wrap it up
Shape Grammar to me As an HPB student in GT sometime I fill a little bit of uncomfortable in the school. My background I always want to merge other things into design. During the time in shape grammar class I founded that this in some way do fulfill my dream and also taught me a lot of things. In this short essay I tried to combine a lot of things. Not only the design I did in the past but also the new things I learned in HPB. I tried to use the thermal radiation’s view factor matrix to combine shape grammar. I did surprise by the outcome. I remembered my father used to tell me design is the process that surprised yourself. During a long time learning in this class, I do surprise myself. Not only I leaned the new technique for design but also, I fulfill some of my goal before I get here. Special thanks Kurt who really take good care of me when I get here and taught me a lot of knowledge about shape grammar. He advice really help me a lot. I also have to thanks all member from SCL lab. They all give a lot of help and advice. Last but not least, I must thank professor Athanassios. Thank you for leading us into the new world.
Assignment 3 for shpae grammar class/ Vincent Chang
Assignment 4 for shpae grammar class/ Vincent Chang
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Reference and Disclaimer
Disclaimer and Warning Most of the statement in the essay still under construction. Some of the statement might not be correct. The statement mention in this book is Alco truly written by Vincent Chang. Please contact the author when try to publish or upload to any other places. Email: polo12988@gmail.com References: Coen, E., et al., Umberto Boccioni (New York, Metropolitan Museum of Art: Distributed by H.N. Abrams, 1988) Colomina, B., The Split Wall: Domestic Voyeurism, Sexuality & Space (NY: Princeton Architectural Press, 1992) Colquhoun, A., Modern Architecture (New York: Oxford University Press, 2002) Eisenman, P., “Terragni and the Idea of a Critical Text,” in Written into the Void: Selected Writings, 1990-2004 (New Haven: Yale University Press, 2007) Giedion, S., Building in France, building in iron, building in ferroconcrete, introduction by Sokratis Georgiadis; translation by J. Duncan Berry (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1995) Le Witt, S., “Paragraphs on Conceptual Art.” Artforum (June, 1967) [online]. [cited 3 August 2010] Available from: <http://www.ddooss.org/articulos/idiomas/ Sol_Lewitt.htm> Osborne, P., Conceptual Art (London; New York: Phaidon, 2002) Petrie, B. Boccioni and Bergson, The Burlington Magazine Vol. 116, No. 852, Modern Art (1908-25) (Mar., 1974), 142 [online], [cited 13 October 2010] Available from: <http://www.jstor.org/stable/877621> Rowe, C. & R. Slutzky, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and other essays (Cambridge, Mass., MIT Press, 1982) Raumplan [online]. [cited 14 October 2010] Available from: <http://www.mullerovavila.cz/english/raum-e.html> Definitions courtesy of Merriam-Webster Online Dictionary Colquhoun, Modern Architecture (New York: Oxford University Press, 2002) P. Eisenman, House II 1969 – Cardboard Architecture: House II, Five architects: Eisenman, Graves, Gwathmey, Hejduk, Meier (New York: Oxford University Press, 1975) P. Eisenman, G. Terragni, et al, Giuseppe Terragni: transformations, decompositions, critiques (New York: Monacelli Press, 2003) Rowe & R. Slutzky, Transparency: Literal and Phenomenal, The mathematics of the ideal villa and other essays (Cambridge, Mass., MIT Press, 1982) Raumplan [online]. [cited 14 October 2010] Available from: <http://www.mullerovavila.cz/english/raum-e.html>
Figure References: B. Colomina, The Split Wall: Domestic Voyeurism, Sexuality & Space (NY: Princeton Architectural Press, 1992). 75. Photoshopped by Author. Figure 2: Picasso’s The Clarinet Player, 1911 [online]. [cited 25 November 2010] Available from: <http://www.thearttribune.com/spip.php?page=docbig&id_ document=342> Braque’s The Portuguese, 1911 [online]. [cited 25 November 2010] Available from: <http://www.artchive.com/artchive/B/braque/portgais.jpg.html> Boccioni’s States of Mind II: The Farewalls, 1911 [online]. [cited 25 November 2010] Available from: <http://www.artinthepicture.com/artists/Umberto_Boccioni/farewell.jpeg> Le Corbusier’s La Roche House, S. Giedion, Building in France, building in iron, building in ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1995), 178. Le Corbusier’s Cook House 1926/27, S. Giedion, Building in France, building in iron, building in ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1995), 179. Axonometric of Le Corbusier’s Still Life, 1920; R. Krauss, Death of a Hermeneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman, Architecture and Urbanism. (1112), 1980: 196. Le Corbusier’s Still Life, 1920 online]. [cited 25 November 2010] Available from: <http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3426&page_number=2&template_id=1&sort_order=1 > Axonometric of Le Corbusier’s Villa Stein at Garches 1927/28; R. Krauss, Death of a Hermeneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman, Architecture and Urbanism. (1112), 1980: 197. Le Corbusier’s Villa Stein at Garches 1927/28 S. Giedion, Building in France, building in iron, building in ferroconcrete (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1995), 182. A. Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 82. A. Colquhoun, Modern Architecture (New York: Oxford University Press, 2002), 80
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