Julia Nogueira 20 years Student Faculty of Fine Arts Architecture and urbanism
Aline Araujo 22 years Student Faculty of Fine Arts Architecture and urbanism
Adriane Ferreira 22 years Student Faculty of Fine Arts Architecture and urbanism
Carolina Silva 22 years Student Faculty of Fine Arts Architecture and urbanism
Paulo Henrique Dias 24 years Student Faculty of Fine Arts Architecture and urbanism
Julia Virgulino 21 years Student Faculty of Fine Arts Architecture and urbanism
Prototyping using a CAD / CAM system, first of all, represents the development and integration of methods, tools, environments and technologies that synchronize design and production. Two types of processes present themselves as main processes of prototyping by CAD / CAM system: a) Rapid prototyping (RP - Rapid Prototyping) by deposition of materials, where the models are built progressively in layers and there is no need to use any kind of tools; and (b) Subtractive Rapid Prototyping (SRP), where the models are obtained by roughing blocks of several materials. To understand the two processes mentioned is to bring this technology product development. Know how to define which process prototyping according to their material characteristics, their costs and the speed of prototyping is the beginning of the use of these processes.
The ground of parametric design is the generation of geometry from the definition of a family of initial parameters and the design of the formal relations they keep with each other. It is about the use of variables and algorithms to generate a hierarchy of mathematical and geometric relations that allow you to generate a certain design, but to explore the whole range of possible solutions that the variability of the initial parameters may allow. The benefits of this process are immediate. It is a huge leap in the quality of our process, since we are not bound by our tools anymore; now it will be us who design our own tools. On the other hand, parametric design is fundamental when minimizing the effort needed to create and test design variants. Generating an automated process eliminates tedious repetitive tasks, the need for complicated calculations on the fly, the possibility of human error, and generates huge shifts in the outcomes with slight variations of the original parameters. It is the difference between using the ‘Cube’ command one thousand times, entering center point and dimensions, or customizing the design of a ‘Group of Variable Height Cubes’ command out of our own predefined variability rules.
Architecture is basically a process with a more complex look, which, in turn, runs away from conventional architecture - section, update and plant. The means of digital use in the parametric design concept. With the access code there is no software, the file can be configured as a series of options to meet the same goal. Such parameters are, for example, the thermal and acoustic comfort of the hair. It is, therefore, different from the deterministic form, in which we can create the project thinking in its final form; this case, are the guidelines determine the form, leaving the architect as an option among the various options of final forms that the program presents. Computational technologies, therefore, have become a key element in project design, whereas previously they served only as support for the architect's idea. In addition, they perform from project to project execution; The civil construction process, because it is industrial, consumes much less time and presents a much greater quality compared to the conventional construction. Products that require detailed information to run can, with a digital, be run with much more precision and agility.
The most modern utopias of the twentieth and twenty-first centuries were based on the new possibilities for industrial progress and share a common point in the belief that virtualties and new technological trends act as an aesthetic challenge to redesigning cities. As far as "pre" and "post" second world war are concerned, architects worked with an industrial archetype which was necessary to the art and industry. Making an approach based on prototyping for a construction, where an object well-designed would fit society as a whole. According to Walter Gropius, the founder of Bauhaus: "It can be expected that work in the Bauhaus workshops will gradually for a creation of unique typical objects "(GROPIUS, 1980, p.70). However, at the end of the 20th century, the prototypical scope user was strongly criticized for giving way to new production systems that allows mass customization of products to take command over the Standard fashion design, driving the growth of individual uses and the urban plurality. If the "prototype" refers to a relevant object that a production produces in scale, a "prototyping" subverts this paradigm into a For an urban approach, where users participate not with improvements punctual, but with industrial design, serialization and customization of the city.
As the phases of the Industrial Revolution are categorized according to the new technologies that have been introduced with them and have modified their production: the First Industrial Revolution in the nineteenth century was characterized by the use of water, the steam engine and the railway. A new sandwich set appears when the urban design was more concerned with transport infrastructure, both for people as for goods, which include trains, trams and cable cars. It is already an Industrial Revolution, was marked by the use of electricity and That a division of labor leads to new concepts of mass production economies of scale. In the 1970s, new computer-programmable machines Reconnecting the Logics of Industrial Production Third Industrial Revolution. The main characteristic of the machines was a flexibility, that is, an ability to create different types of products, that is, to execute procedures with different parameters, allowing mass production of individually designated parts. A good example of manufacturing machine is a laser cutter o Still in development, a Fourth Industrial Revolution stands on the third. It is characterized by a fusion of technologies that are assimilating the spheres physical, digital and biological. From systems controlled by algorithms based on in computers on the internet, access is generated that accesses data and information for various situations. The concept of Smart Cities is related to the technologies that They are being produced in the Fourth Industrial Revolution. Fields as intelligence artificial, robotics, standalone vehicles, 3-D printing, nanotechnology, biotechnology, materials science, energy storage and quantum computing; are combined with an architecture to address social, customer and environmental issues. An upward variant of Intelligent Cities, more utopian, is the initiative FabCity, which uses the related technologies before in the Third Industrial Revolution, in particular their computer-based machines, such as 3D printers, associated internet networks Contrary to the concept of Smart Cities, a FabCity account with more initiatives than large companies. This idea is associated with education for the innovation and the training of a new generation of environmentally conscious environment, less consumerism and more creative.
TOPDOWN / BOTTOM-UP
The modern urban design of the 19th century was typically thought of as topdown (top to bottom), but its utopian approach included some bottom-up. Corbusier, Hilberseimer, Ginzburg and other architects of the At the beginning of the 20th century they were more interested in the practical aspects of urban by the 1800s, which may explain why the top-down was the direction of choice for these pioneers in the subject. In the course of architectural production, the prototype had to adapt transforming radically into prototyping: from top to bottom and from low to up, "balancing the boundaries between users and creators. This imbalance is a already applied to our generation. The modeling trends of rapidly cross the scales, and mass customization in the architecture can achieve urban utopias. The housing units were one of the laboratories for industrialization architectural design. Both the pre-and post-war prototypical experiments were based on the manufacturing houses to check theories and applications. Traditional urban design defines a pattern of always having home units as the starting points of their proposals. On the urban scale, top-down methods, although more in the Athens Charter, new initiatives are still begin to appear proving viable. The Fabcity initiative, for example, bottomup approach. Applies the core concept of the 4th industrial revolution and proposes every citizen to become a producer of his own products, from vegetables to home appliances.
Having obsolete control over pencil and paper means designing a project in which the final state of its composition will be proportional to the original idea of ​the author. Today a large proportion of architects and designers use the hand tool and transform their ideas made by the mint into concrete reality while respecting the limits of the nervous system. Today we may come across new technologies that enable a new threedimensional and parametric architecture The fragmentation of Teaching in watertight disciplines, without connections with each other, has always generated serious problems for the integration of contents in the curriculum. However, in recent decades, the strong pressure to incorporate new disciplines and, at the same time, the exclusion without criterion of fundamental disciplines, has caused instabilities, detrimental to the process of teaching architecture learning. Quality teaching can not disregard the basic foundations of each profession, nor can it fail to incorporate new knowledge without reflection and criticism. The object of analysis of the article are the algorithms, 3D digital geometric models and physical models carried out by the students. The results obtained include drawings of different geometric patterns and their materialization in physical models. The procedures adopted during its realization in the atelier and in the computer laboratory are reported. In the final part we discuss the didactic experience, final considerations and conclusions about parametric analogical reasoning.
In the last two decades, numerical control machines have helped to manufacture organic shapes and encouraged creativity. Scholars point to researches and buildings built from the new techniques of geometric modeling and digital fabrication, and warns of the importance of new knowledge on topology, non-Euclidean geometries, NURBS (Non Uniform Rational Beta Splines) and parameterization. In addition, recent international architecture clearly demonstrates that parametric (MP) modeling and digital fabrication have supported architects and engineers in this renewal in the way they build. Usually, during the process of creating and developing an architecture project, specific features of drawn parts are revised and modified many times. To respond to this problem, a structure was developed, embedded in computer graphics programs, based on parameters and hierarchy: parametric variations.
Buildings are literally made up of thousands of individual parts, and a large number of connections. Such a modeling requires that these portions be grouped into components comprised of parameters, so as to facilitate manipulation according to the user's need. The power of computers lies in their ability to quickly calculate complex mathematical formulas. In the design of buildings, this fact has made it possible to make complex geometries feasible, introducing the possibility of creating and manipulating new families of shapes and curved surfaces.
New computational tools, in parametric environments, allow programming the dependencies between components, through the use of variables, called parameters. These allow you to construct rules, draw relationships between points on a curve, and define the relationship and dependency between them. Therefore, the curves derived from them enable the creation of parametrically controlled curved surfaces.
Today it can be said that creativity is the human faculty that exceeds the daily processes and routines of thought and doing. Creativity is the capacity to produce a production that is both new and adapted to the context in which it manifests itself, or creativity is the original combination of known ideas. By this understanding, architects are creative when they produce combinations and unusual associations of ideas, with results not foreseen a priori. In this sense, the MP allows to expand, in an agile way, the number of combinations between the variables, providing the obtaining of unexpected discoveries.
However, obtaining combinations and variations through MP requires a logical, associative and explicit thinking about interactive processes (HARDY, 2011), which requires discipline, organization about the design process and abstract thinking. Thus, in the present research, it was tried to stimulate the students to realize associations between ideas contained between different known projects. In an explicit way, associations between different ideas such as between human body and buildings, or between buildings and elements of nature, were encouraged.
Many educators complain that it is not possible to teach the basic traditional content of discipline and, at the same time, introduce a creative and critical thinking. In fact, we think that the workload is restricted and that creativity and reflection do not fit within scope of graduation, the problem seems insoluble. However, it can be argued that the debate is of another nature. In fact, the true discussion of many educators is doubtful about delivering a course with traditional method based on the transmission of content, or innovative, supported by the creative and critical thinking. In the first The course is based on content and sedimentary materials, while in the second is the promotion of new knowledge and critical reflection. The difference is not only quantitative, it is, above all, qualitative, since to train students with knowledge consolidated by practice is very little in the face of accelerated transformations of today's society. In a competitive society, where the ability to updating and renewing knowledge becomes more importantly, the innovative method (or provocative), which involves a thought critical and creative, is increasingly needed.
In reality, the acquisition of knowledge must be given by both the transmission and the reflection, making the creative thinking and the critic are inseparable. In the case of architecture, the design process constant alternations between thinking divergent thinking and convergent thinking. At the first, ideas are produced, the second select and judge. The first involves creative thinking, while the second involves critical thinking. This alternation between generating new ideas within a more comprehensive framework, with freedom, if opposes the other moment, where the more meaningful information, and judges rigor and critical discernment. These two thoughts complement each other, for while one opens possibilities and analyzes, the other condenses, synthesizes and evaluates. Both depend knowledge acquisition and retrieval stored in memory. Therefore, the teaching of project, and practical disciplines, can not only prioritize the repetition of exercises and tasks that restrict activity to a mere solution of a known problem, on the contrary, it must incorporate unknown problems, which require research and critical reflection.
Designing is an activity during which the architect develops actions according to the changes in his environment. By observing and interpreting the results of his actions, he decides on new actions to be performed on the medium. This means that architects' concepts change according to what they are "seeing" in their own external representations. (SCHĂ–N; WIGGINS, 1992)
Iraqi, was born in 1950 in Baghdad. studied mathematics in Beirut and then in architecture at the Architectural Association in London in 1977, where she soon became a teacher. He joined Metropolitan Arquitecture in 1978, the office of Rem Koolhaas and Elia Zenghelis, and in 1979 he opened his own office. First woman to receive the Pritzker Prize in 2004 - equivalent to the Nobel Prize in architecture. From the beginning she was fascinated by the artistic avant-gardes of the 20th century. It is the starting point for its architectural experimentation, marked by an unconventional and visionary aesthetic. His works carried out all over the world, there is a new way of conceiving the architectural space, full of energy, mutable and attractive, a space freed from the usual Cartesian lines, a space generated by lines and fields of force, according to a dynamic and agile geometry capable to foreshadow the landscapes our eyes will see in the future.
Windmoor Center of the Academy of Santa Teresa
This independent Catholic preparatory college for young girls wanted a new chapel and an academic space on the main campus. After students and a view of the chapel emerged as a light, feminine, contemplative space filled with light and connected with nature. Important throughout the design process was the balance. Achieving harmony between the sacred and the secular is the essence of the college's mission, and was the main challenge for the project team. This challenge was further reinforced by the duality of the program that combines the spiritual heart of the college with classrooms equipped with state-of-the-art technology.
Gould Evans developed the project solution in honor of the school's history and incorporates the vision of a modern institution for women's education. The general outline of the chapel is light and feminine, and this reflects in its palette of colors and materials of the interiors, balanced by the defined volumes of bricks and classrooms, which visually relates to the shape of the building and the existing campus. The two volumes are defined by a shared hallway that allows the sacred and the secular to coexist.
The chapel has a capacity of 150 seats, and together with the classroom building, they create a new spiritual and academic center for a school that is progressive but still rooted in its history. The project creates a balance between academic programs, exemplifying the core values ​of the school.
MOCK UP
WHY TO USE MOCK UP?
One of the most enjoyable parts of producing websites is taking the idea from your head and seeing it come alive in front of you during the creative phase. With mockups, you get to do that incredibly quickly and you can iterate on new designs or flows with just a few clicks (instead of needing to change substantial portions of the markup or code on a production site). Our development process, both for the projects we assign and the methods we teach, will rely heavily on using mockups. They are both ideation tools (for UX and design decisions) and references to go back to when you start producing code. Once the creative process has settled to the production process, the mockup represents your goal. It's very helpful to have something to refer back to when you're mucking around in the back end and barely remember what exactly you're building.
ICD-ITKE Research Pavilion Architects: ICD / ITKE University of Stuttgart Location: KeplerstraĂ&#x;e 11, 70174 Stuttgart, Germany Area: 85.0 m² Project year: 2016 In order to fabricate the structure, robots were used to fold the sheets of laminated plywood. In parallel, a manufacturing technique was developed that allowed the production of elastically folded and two-ply segments made of plywood
The construction elements consist of extremely thin wooden slats, which are rolled to size so that the direction and thickness of the shafts match the stiffness, this allows flat strips to be folded elastically.
The pavilion is the first in the world to use industrial sewing on an architectural scale.
Metropol Parasol Architects: Jürgen Mayer H. Architects Year: 2011 Type of project: Urban equipment Structure: Wood Location: Sevilla, Spain
Metropol Parasol has become a landmark for the new contemporary center of Seville. It consists of a wooden structure composed of six mushroom-shaped jigsaws that house a museum, a market, a raised square, bars, restaurants and a panoramic terrace. The structure has 3,000 pieces of different thicknesses, between 7 and 22 joined by bars of cast steel able to withstand the climate of Seville. To ensure the durability of the structure, all the wood was coated with polyurethane.
Jan Peter Koppitz, engineer of the construction company, says: "As the structural calculation required a 3D analysis of great complexity, composed of infinite elements, we developed an interactive program capable of determining the thickness of the wood elements in each of the joints of the structure for optimization. Finally, the architect's 3D model data was integrated with ours and also with the virtual model of the wood company. "
Forms with high complexity but at the same time are easily modifiable. For decades, teaching programming for architectures has introduced computational techniques to generate and control geometric entities. Examples of programming language programming languages ​(MITCHELL; LIGGETT; KVAN, 1987) and of scripting language within CAD software (COATES; THUM, 1995) for the development of computational geometry controlled by parameters. In the same period, software from other areas (SolidWorks or CATIA) already had parametric modeling capabilities. However, only in the last 15 years, the terms parametric modeling and design have gained prominence within the design process
This current diffusion of parametric design in our environment is associated with the development of visual programming environments integrated with CAD and modeling software. More specifically, these environments are based on the visual representation of the data flow, relationships and constraints by directed acyclic graphs (WOODBURY, 2010; DAVIS, 2013). In this way, visual programming has created a more dynamic and user-friendly interface for user use and control of information.
The use of parametric software can extend the field of formal possibilities of the architecture through the manipulation of relations, generating flexible and associative geometries that are not fixed solutions (KOLAREVIC, 2005, p.149). The power of the parametric design lies in the ability to express not a specific result, but to provide an agent with control of the multiplicity of possible associations between the modeled elements, enhanced by the computational interface.
The parametric design is a design process that requires the assignment of explicit definitions that allow a level of control by means of indicating relations between the parts that can be edited from a set of parameters - variable element and quantifiable factor capable of set up a relationship system. According to Woodbury (2010: 22), unlike the conventional design method, the definition of relations requires an initial effort to establish the logic of the set and to make explicit the ideas through formal notations, but with the later benefit of guaranteeing changes without the need to redo the parts.
Barrios (2011, p.204) distinguishes the parametric model from parametric design, the first being characterized as a group of geometric components that contain attributes that can vary parameters - and other fixed - static or limited -, and the second as the representation of a process that uses these models to adopt a flexible editing mode. That is, parametric design is a process of formal exploration and discovery of variations that operates on the space of the parametric model, and may or may not generate a complex result. What matters "in parametric design are the parameters of a particular project that are stated, not their form" (KOLAREVIC, 2000, p.4). Considered one of the generative procedures in the design process, it introduces a fundamental change, in which the parties relate to each other and change in a systematic way, coordinating and (re) establishing connections (WOODBURY, 2010, p.11).
In general, the practice of modeling using parametric design is associated with the geometric, spatial, organizational, tectonic and functional manipulation of the architectural design, creating entities that allow the exploration of different design alternatives, refinement of the model and integration with information systems (BARRIOS, 2011, pp. 205-6)
The PortHole Pavilion Installed At The Marina In La Grande-Motte
The PortHole pavilion is an experimental architecture, designed by Antonio Nardozzi & MarĂa Dolores del Sol Ontalba [TOMA!] for the tenth edition of the FAV at La Grande-Motte. The experimental factor of this pavilion is the way the perspective-localized technique is performed: the whole habitable sculpture becomes a flat sign, a virtual porthole on the seafront of La Grande-Motte. Continually evolving, the installation changes its own features with respect to the points of view up to flatten, creating, thanks to its anamorphic nature, a perfect circle.
source: contemporist
The contours of the panels composing the installation reinterpret the city panorama by recycling the organic shapes of the buildings of the architect Jean Balladur and the boats surrounding the quay. Its fluctuant shapes, modeled and sculpted as if carved by wind erosion, allow to stroll through, shelter under or sit on. A comfortable urban element that invites to discover unexpected optical illusions at the rhythm the spectator tread around. The volume of the pavilion, inscribed in a cube whose side is 3 meters occupying a footprint of 9 m2, is made of 120 MDF boards. Since cutting boards the edges loose the protective film, paint is applied to protect the weakened surface. The pink colour is homage to the FAV.
Ethereal appearance is accomplished by creating gaps between the boards and disposing the vertical structure in an angular grid that allows to see the minimal number of metallic pieces from the specific vantage point of view. Layers are then mounted one on another using 1500 metallic screws between them. Metallic structure support, join and separate the wood panels.
The PortHole therefore provides an experience completely devoted to the pleasure given by contemplating the landscape while enjoying the coastal breeze and lulled by the waves, the pavilion waves. A place that suggests to slow, interact and confer yourself a moment of reflection bound to last a long time, beyond the ephemeral.
Project
It was proposed to develop an office based on the assumptio the existing structure into the project so that it meets some f plan.
The land is located in front of the Regional Forum, in the nei is characterized by a very rugged topography and the stu considered when designing.
on of a concrete structure. The big challenge is to incorporate factors, such as topography, insolation, needs program, mass
ighborhood of Vila Madalena in SĂŁo Paulo, Brazil. The region udied terrain presents a relevant vegetation that must be
Project It was proposed to develop an office based on the assumption of a concrete structure, which has spans of mostly 5m, pillars of 0.25 x 0.25 and beams of now 25x55 ora of 0.25 x 0.65. The big challenge is to incorporate the existing structure that comprises a subsoil at level 787.50 and the ground floor at level 790.50 to the project, so that it meets some factors such as topography, sunshine, needs program, mass plan.
ÁREA ATENDIMENTO
APOIO PR.
APOIO AT.
ÁREA DE PRODUÇÃO
Atendimento
Apoio
Área de atendimento
Recepção
Administ RH
Área de Serviço
Copa
Sóci Lounge
Sanitários
Reunião
Reunião
Reunião
Vestiário
Biblioteca
Produção
Área de Produção
Apoio
tração / H
ios
Sanitários
Área Civel/Contencioso
Almoxarifado
Área Trabalhista
Descompressão
Área Tributária
Arquivo
Área Imobiliária Ar Condicionado Área Ambiental
BY JULIA NOGUEIRA
By PAULO DIAS
By ALINE ARAUJO
By ADRIANE FERREIRA
By JULIA RIBEIRO
Archdaily – Disponivel em: https://www.archdaily.com.br/br/804553/pavilhao-de-pesquisa-icditke-2015-16-icd-itke-universidade-de-stuttgart Cad cursos guru - Disponivel em: http://cad.cursosguru.com.br/cad/oque-e-prototipagem-digital/ Maau Arquitettura - Disponivel em: https://www.maauarquitetura.com/single-post/2017/03/22/Umprojeto-interdisciplinar Stylo Urbano - Disponivel em: http://www.stylourbano.com.br/pavilhaoinspirado-no-ourico-do-mar-explora-uma-nova-forma-dearquitetura/?utm_source=feedburner&utm_medium=email&utm_campa ign=Feed:+blog/stylourbano+(Stylo+Urbano) Archdaily - Disponivel em: https://www.archdaily.com.br/br/0127417/metropol-parasol-jurgen-mayer-h-architects Revistas USP - Disponivel em: https://www.revistas.usp.br/gestaodeprojetos/article/viewFile/5101 0/55077 Galeria da arquitetura - Disponivel em: https://www.galeriadaarquitetura.com.br/Blog/post/arquiteturaparametrica-alia-estetica-a-eficiencia-ambiental-entenda Archdaily - Disponivel em: https://www.archdaily.com.br/br/763876/emdetalhe-geometrias-traduzidas-arquitetura-adaptavel-em-base-aparametros Issuu - Disponivel em: https://issuu.com/studio_air