Air 2012 Lewei Jiang 265252
ADS Air/LEWEI JIANG 265252
Content PREFACE Part I: CASE FOR INNOVATION 1.1 Architecture as an Discourse 1.2 Computation in Architecture 1.3 Parametric Architecture Part II: EXPRESSION OF INTEREST Part III: FINAL PROPOSAL
1 Content *From http://www.arch.rpi.edu/2012/07/alexander-klafehn/
About Me
Marketer Architect Hotelier Who?
I am recognized more as a marketer rather than an architect.
Where?
I have travelled from China to UAE, Australia, USA, Japan, Italy, Greece, Turkey, Monaco, Egypt, France, UK, Malaysia, Thailand, Singapore, etc.
Architecture as a discourse The unprecendent evolution and revolution of architecture in today’s world urge us to think again: what architecture is all about? How digital Architecture create opportunities and problems for us today? Williams (2005) raised the term “discourse” to discribe architecture, which make architects to extend their views of architecture, towards a boarder perspective philosophicially, socially, professionally and as visual culture. When architectures are defined as art, architects are expected to become the same kind as a partner or sculptor or author, to create unique discrete design that have their own integrity regardless of site. Digital architecture, especially the programming in architecture enabled architects today to create unique pieces of design more easily. The leader of this parametric and generative architecture paradiagm, UN Studio and Zaha Hadid, have created many revolutionary unseen project around the world, that expressed their time, chanllenged existing assumptions and definitions about architecture. Their projects illustrated what Williams (2005) suggested that when architecture is considered as an art should be. In other words, digital architecture provides a mean to make architecture art.
What?
The problems associated with digital architecture on the other hand, could also limits architecture to become art. Despite of the success of Zaha and UN Studio, the random and chaotic nature of digital architecture often take the control out of architects’s hand, become inaesthetic and obsolete.
TICK (LEWEI) JIANG
Realistically, what an architecture signify depend on the nature and context of it. The urban experience and art that architecture comprises, are limited to the requirement of the client, the debates among the stakeholders; are subject to the development of technology, materials, available resources etc.
My life is all about architecture, I travel to see architecture and of course new marketing trends. I work for exceptional architects.
First year into Architecture, currently doing 2nd Semester of my Graduate Diploma in Planning and Design. I started my career as a marketer three years ago after graduating with Honours from Melbourne University. I have worked for an US engineering firm as Marketing Manager in Shanghai for two years, and now I am the Marketing Director of KGF Architecture and Design Inc. My approach to design is mostly based on my previous experience with a team of international architects. I have been traveling around the world to research the design of hotels and resorts for the past five years. I am doing architecture now is because I want to design hotels and resorts, or to become an consultant for hospitality design. I do not have a degree in Architecture, I cannot draw and have little experience in Computer-Aided Drafting.
3 About Me
Digital architecture therefore should be practise in the consideration of the disourse of architecture, to create and innovate at the frontier of its controversial nature without losing the essential beauty of it. That is to execute projects that create a better life and a better world. Reference: Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16.
CASE FOR INNOVATION
Architecture as a Discourse ARCHITECTURE Week 1@Discourse Week 2@Computation Week 3@Parametric Week 4@Kinetics
5 Part I: Case for Innovation
1.1 Disourse in Architecture
Atlantis Hotel, the Palm UAE
W London
Dubai Atlantis (complete in 2008), is one of my favourite architecture. IThe challenge of designning this hotel is to create a destination type of resort that capture the customers that want to stay in a hotel in Dubai as well as the visitor of Dubai. The design was based on the myth of Atlantis and maintains the iconic design elements of the Paradise Island property, while incorporating traditional Arabic design themes. Half of the site was used to build the 60-acre water theme park, which enable visitors in Dubai that are not staying in this hotel to come visit.
The W group’s has always been my favourate hotel of all times. The first time I know about the W hotel is
My visit to Atlantis Hotel in 2011 is a trully unforgetable experience. The extraordinary experience within the hotel, reinforced the myth of Atlantis, and a dream to the paradise. I felt completely immersed in the dream in Atlantis.
world. Such W London-Leicester Square designed by Jestico + Whiles and developed by McAleer & Rushe
through the speaker of starwood hotel group last year at the Asian Hotel Investment Forum, the interesting
design concept of W hotels has been amaze me since. After the conference I went to stay in a number of W hotels around US, what intriguing is its unique identity for each of the W hotels.
This newly-opened illuminated W hotel in London (built in 2010) is one of the newly opened W hotel around the
is a mixed-use building wrapped in a frameless glazing facades. Potentially a monster to heat during UK’s
brutal winters, the 18,580 square meters building features a tri-generation system that gives this luxury facility a sustainable edge.
What attractive about this design is the façade of the building to function like a vast pixellated screen – the first
of its kind in the UK – capable of projecting dynamic light installations in an exciting new collaboration between contemporary architecture and art. In other words, it demonstrate architecture can be seen as a visual art.
This striking visual effect is achieved by a sophisticated ceramic frit applied to the optically corrected glass of building’s outer skin, allowing it to ‘hold’ and project the light, without obstructing views outwards from the guestroom windows. The façade of the hotel has been wrapped in a second skin of frameless glazing, which shows the latest ideology that function can be different from the facades.
5 Part I: Case for Innovation/Week 1 Discourse in Architecture
I think this project is a good demonstration of today’s architecture, and how the concept and discourse of Architecture has been evolved over time.
1.1 Disourse in Architecture
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1
IMAGES: 1:Form In Motion Exhibition (2011 Sept. - 2012) 2: Form in Motion Sculpture http://plusmood.com/wpcontent/uploads/2011/10/ Zaha-Hadid_Form-InMotion_04-600x519.jpg 3: *Image courtesy Zaha Hadid architects (see reference)
Parametric Fantasy of Zaha Dame Zaha Mohammad Hadid (Zaha Hadid Archtiects) I love Zaha Hadid. She is the key architect of the Postmodern Architecture Style- the Deconstructivism. She has the talent of cutting-edge design, not only in architecture, but also in fashion. She is very famous for free-style parametric design, or what we called the top-down design. Impressively, most of her crazy project has been delievered or under-construction. What a lucky architect in 21st Chaotic Century. Her project looks abstract, but the idea behinded was solid. Design based on motion - that means the form would be fluid.
7 Part I: CASE FOR INNOVATION/Week 1 Discourse in Architecture
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CASE FOR INNOVATION
Computation in Architecture ARCHITECTURE Week 1@Discourse Week 2@Computing Week 3@Parametric Week 4@Kinetics
9 Part I: CASE FOR INNOVATION/Computation in Architecture
1.2 Computation in Architecture
CASE: Multi-Agent Modeling
Pros
Cons
The changing design ideology for the
The
new architects. From computerization
modeling or design is that: to fabricate
drafting to computation.
This results
or manufacture of the form is difficult,
in a new way of architectural design
Nguyen Phuoc, Arie-willem De Jongh, and Mingy Seol from TU Delft. They explores the
and often associated with high cost. To
generation of programmatic, structural and spatial order through a multi-agent based design
appraoch and methods. Rather than
create something that was not able to be
methodology which operates in a high pressure environment. The intention was to achieve
restricting forms as normal geometry,
created does not mean it is functional,
there is an unprecendent opportunity to explore architecture in more complex gemotry forms.
disadvantage
of
computation
aethetic or applicable.
architecture now can be designed through parametric design. Performative design can also be applied to optimize
design, what is really great about computation?
The majority of people still think that
the building’s functinality, which is difficult to achieve by architect alone.
and not applicable, there must be
Computer
some reason for it. We cannot deny the
to
generate
realistic
also
enables
contect
and
situation for architects, so that when
and programmatic demands. The strategy of the project was to explore the possibilities of connecting exclusive programmatic and hard threshold zones through a continuous and
Although it is creative in the way that let the “agent” design the optimized solution of the architecture. When we ask the architect: how do you decide on which sitimulation of the modeling to choose? The answer I got is often: the one that looks the best to me. Such answer just make me wonder: where is the control? why do we need architects if every agent is going
computation modeling is superficial
modeling
highly varied heterogeneous spatial formations, catering to a wide variety of human activities
gradient experience of the multifunctional voids and green areas. Other than the coolness of computation
Kinetic architecture and responsive
I was fascinated by an new stream of Architecture Computation researched by Bao An
problem associated with computation modeling.
the architecture is built, we have more confident it will work as intended.
11 Part I:CASE FOR INNOVATION/Week 2 Computation in Architecture
to design a building on its own. If I am not wrong, to design the rules for the “agent” is like writing a legal contract, there is always a risk in not covering all the rules, as we have limitations as humans. Therefore, the design could be worse than if we just do the design ourselves, as we are the architects. Computation to me is more of a optimising tool than a designer.
1.3 Parametric Architecture
generative & Parametric Pros & Cons The ability to create a “WOW” project is not hard for parametric design, however, to make the project to satisfy the real life constructionability is difficult.
Parametric design extend the possibility of creativity, it generates surprising design that is in free form.
The hardest part of any parametric design is fabrication and
construction. Any parametric form should be able to be constructed - that is to have a feasible structure and materials that can fabricate the form.
CASE: Guangzhou Opera House Aother Zaha’s latest project, located down stream of Pearl River, the Guangzhou Opera House, as the media suggested “The world’s most spectacular opera house”. Ms Hadid beat competition from the Dutch architect Rem Koolhaas and the Austrian collective Coop Himmelb(l)au to win the project in 2002 with her design that evokes the smoothing of rocks in the nearby Pearl River and houses both a 1,800-seat auditorium and a smaller 400-seat hall. The most exciting aspect of this project is its strong linkage to fashion. When you see this architecture, you probably would think its form is identically parametric. But in addition to that, this project is beautiful, and has many exquisite aspects. Maybe because seeing from a woman’s perspective, I feel this project is trendy and fashionable.
13 Part I: CASE FOR INNOVATION/Week 3 Parametric Architecture
CASE: Guangzhou Opera House
1.3 Parametric Architecture
Fashion & ARCHITECTURE It was cited by the fashion designer Vivienne
Tam as the source of inspiration for her Autumn
collection in 2010.Indeed, Zaha did drew inspirations from the Fashion Icon - Vivian Tam’s
2011 Fall Collection. Finally, we see a synthesis between fashion and architecture. Although in the
past, architecture was more lay back compare to Art and Science, the Guanzhou Opera House surprisingly had a influence on fashion.
This is an unprecendent example of how
architecture today could potentially has a strong impact on our lives, including arts, fashion and entertainment.
Guangzhou Opera House, Guangzhou Zaha Hadid Architects Estimated cost: 1 billion RMB ($152 million) zaha-hadid.com
15 Part I: CASE FOR INNOVATION/Week 3 Parametric Architecture
VIVIAN TAM’S DESIGN 2012
VIVIAN TAM’S DESIGN 2011 FALL
CASE: Guangzhou Opera House
1.3 Parametric Architecture
17 Part I: CASE FOR INNOVATION/Week 3 Parametric Architecture
TECHNOLOGY & CULTURE The 1,800-seat auditorium of the Opera House houses the very latest acoustic technology, and the smaller 400-seat multifunction hall is designed for performance art, opera and concerts in the round.
The Guangzhou Opera House design has been particularly influenced by river valleys – and the way in which they are transformed by erosion. Fold lines in this landscape define territories and zones within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the building. Smooth transitions between disparate elements and different levels continue this landscape analogy.
CASE: Guangzhou Opera House
1.3 Parametric Architecture
19 Part I: CASE FOR INNOVATION/Week 3 Parametric Architecture
CONSTRUCTION The construction of architecture could potentially be the most difficult stage
when the design is to be reslised and built. It is no doubt that it would become
the key problem of Parametric Architectures - easy to create on the computer but often not in real life.
Difficult geometrical shapes largely increases the complexity in structure
and fabrication. Many of those parametric facades are almost impossible to achieve using traditional building materials. Luckily the technologies have
advanced to the stage where we could customise smart materials easily, and can utilise roborts in prefabrications to achieve precision and complex construction tasks.
For the Granzhou Opera House, a new material - custom moulded glassfibre reinforced gypsum (GFRC) units have been used for the interior
of the auditorium to continue the architectural language of fluidity and
seamlessness. It is easy to notice that the scaffold system for such project is rather complicated.
1.4 Kinetic & Responsive
Case: Kinetic Sculpture ART + COM
One particularly stunning highlight from the 125 exhibits packed into
the newly-renovated BMW Welt in Munich is a mechatronic installation by ART+COM, the Berlin-based interactive media company. The project
uses 714 metal balls that are individually suspended one barely visible strings, creating an seemingly weightless, amorphous mass. Each ball lowers and retracts independently, which allows them to approximate almost any form.
The installation moves through a cycle of classic and contemporary BMW car shapes from throughout the company’s 90-year history. In between
cars, it goes through some impressive routines, showing the creation’s versatility.
The inspiration of this project is the “INVISIBLE” forces. If we could
provides a project that is driven by invisible forces, it could create some amazing experience for the viewers.
21 Part I: CASE FOR INNOVATION/Week 4 Kinetic Case Study
1.4 Kinetic & Responsive
Case: Brinsbane Airport NED KAHN
American airtst Ned Kahn has been the king of Kinetic installations that is driven by the natural elements: wind, fog, fire, water and sand etc. Fabrication and Installation of ‘Turbulent Line’, the Brisbane Domestic Terminal car park’s kinetic façade is well underway with many panels on the 5,000 square metre artwork already installed on the Western side of the car park. The fluid, rippling effect of Kahn’s artwork can already be seen from the Domestic terminals, Virgin Australia lounge and the Airtrain’s platform when the slightest breeze shifts across the panels. As I discussed earlier regarding the construction of parametric designs, the Installing the façade has been made much faster and simpler thanks to a piece of robotic machinery designed by UAP and Troy Montgomery Construction. Based on a modified two tonne excavator, the robotic machinery utilises custom designed compressed air clamps and trolleys which allow the project team to install each portion of the façade from the interior of the car park, removing the need for exterior scaffolding, cranes and other devices. The robot is being put forward for a Queensland Safe Work Award in 2012. Apart from the installation, is that possible to maintain the kinetic panels by another robotic machinery? I guess it would be painful for anyone to clean those panels too.
23 Part I: CASE FOR INNOVATION/Week 3 Computation in Architecture
ARTIST Ned Kahn ARTWORK TITLE Turbulent Line PROJECT Brisbane Domestic Terminal Car Park CLIENT Brisbane Airport Corporation LOCATION Brisbane, QLD, Australia ARCHITECT Hassell Sydney DOCUMENTATION Bureau^ Proberts Architects CURATORIAL UAP, Natasha Davies DESIGN UAP Studio, Daniel Clifford
Expression of Interest
EOI
SPATIAL EXPERIENCE INVISIBLE
Kinetic Wind Rain Sound
TURBULANCE SPONTANEOUS
Ideas Scale (Geometry and panel) resolution Lightness and movement Invisibility and porosity of structure Doppler effect – Electromagnetic wave
25 Part II: EXPRESSION OF INTEREST
PARAMETRIC ATTRACTIVE UNIQUE EACH TIME NATURE FORCES KINETIC MOVEMENT
CUT Case Study
Case: Articulated Clouds NED KAHN
Ned Kahn’s Articulated Clouds was the first of large scale wind-kinetic architecture facades. It creates extraordinary visual effects from the wind. The tuberlance that created by the wind ultimately generated a exciting experience both visually and acoustically.
Articulated Cloud is a facade covering for the Pittsburg Children’s Museum in which the artist Ned Kahn cooperated with architects Koning/Eizenberg, the museum’s staff, contractors, and a plastics manufactorer. The whole party was there and because it was no longer just one party’s brainchild, something truly wonderful resulted. The wall is composed of thousands of white plastic square which move with the wind. Just as a cloud traces the paths of airflow as they cut through the sky, these flaps move in chorus and flow to create the impression that the entire building is enveloped in an abstract cloud. Ned Kahn replicates the forms and forces of nature. Studying systems that happen naturally, and what effect even the smallest influence that man can have on that system, Kahn’s work is both performance art of choreographed natural phenomena, and controlled simulation for understanding the earth’s elemental forces.
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Part II: EXPRESSION OF INTEREST/CUT Case Study
CUT Case Study
Case: Articulated Clouds
INPUT: SURFACE SQUARE PANEL ASSOCIATION: IMAGE SAMPLER ATTRACTOR POINT OUTPUT: ROTATION OF ANGELS
NED KAHN KINETIC
INPUT
ASSOCIATION
PANELS
IMAGE SAMPLER
OUTPUT
ROTATE ON ONE EDGE
PLANE ROTATION EDGE
ATTRACTOR POINT
Effects of turning the panels that affects the apperance of the image
29 Part II: EXPRESSION OF INTEREST/CUT Case Study
POROSITY
EOI CASE: Adaptive Fritting™
DOPPLER EFFECT
EOI
The Doppler effect (or Doppler shift), is the change in frequency of a wave (or
Hoberman created a dynamic installation for Harvard Graduate School of Design based
other periodic event) for an observer moving relative to its source The received
on Adaptive Building Initiative's shading technology. As with standard fritted glass, this
frequency is higher (compared to the emitted frequency) during the approach,
technology utilizes a graphic pattern in order to control heat gain and modulate light, while allowing sufficient transparency for viewing. This inspires us on the manipulation
it is identical at the instant of passing by, and it is lower during the recession. The total Doppler effect may therefore result from motion of the source, motion of the observer, or motion of the medium.
of views through porosity. The installation at Gund Hall consists of six motorized panels comprising a 24-foot by
Although there is no previous kinetic project adopts doppler effect, we think
4-foot window, housed within a curved wall. These panels are programmed to form a
we can utilized it as the input of the grasshopper, to programming a porosity
dynamic field where light transmission, views, and enclosure continuously adapt and
change based on the frequence change. Since the driving experience on the
change. As the panels transform, the visual effect is of sparse dots blossoming into an opaque surface.
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Part II: EXPRESSION OF INTEREST/Precedent
highway is highly related to the doppler effect, and when drivers approach the gateway, the doppler effect could be applied to the sculpture that enhances the experiences, also to provides a grounding for the design.
POROSITY
The porosity is experiemented through the overlapping in grasshopper.
INPUT: CIRCULAR SURFACE ASSOCIATION: IMAGE SAMPLER OUTPUT: OVERLAPPING(X,Y,Z)
INPUT: CIRCULAR SURFACE ASSOCIATION: STREAMING TEXT OUTPUT: OVERLAPPING(X,Y,Z)
Y - Vertical
Y - Vertical
X - Number of layers
1,0,0
X - Factor of circular surface
Z - Horizontal
Z - Horizontal
1. LAYERS Although the increase in the numbers of the layers could potentially decrease the porosity of the surface, that is reduce the visibility behind the object.
2,0.5,0
3,1,0
4,0.5,0
25,0,0
55,0,0
GRASSHOPPER ASSOCIATIONS IMAGE SAMPLER Pros: Best way of manipulating the surface porosity. It is fexible, and can create Cons: Relatively difficult to create high porosity or zero porosity with imaged patterns.
2. DIRECTION The directions of overlapping has a greater impact on the reduction in the porosity of the surface. The move of 0.5 on either direction would create the lowest porosity to the surfaces for the same number of layers. 3. CLEARITY The overlapping for different directions can result in the change of clearity of the original image or pattern. That is to moving all layers towards only vertical or only horinzontal directions would result in distortion of image towards that direction. That is to result increase in porosity of rows (horizontal) or colum (vertical).
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STREAMING TEXT 2,0,0.5
3,0,1
4,0.5,0.5
25,0.5,0.5
2,1,0
3,1,1
55,0.5,0.5
4,1,0.5
25,1,1
55,1,1
4. Factor of object 2,1,1
4,0.5,1
The porosity is the lowerest among all images when there is the largest number of layers overlapping, and at the direction factor of (0.5,0.5), moving on both vertically and horizontally.
Part II: EXPRESSION OF INTEREST/Matrix
5,0.5,0.5
The increase in the factor of object, that is an increase in the total number of obejcts, will definitely reduce the porosity of the surface. When the factor of object is relatively small, the movements either vertically or horizontally will both reduces the porosity of the surface significantly. On the other hand, when the factor of object is relatively large, due the a low porosity is achieved, the impact of directionally overlapping therefore is limited.
Pros: Easy to create certain linear porosity on surface. Easy to manipulate the size of the object. It is possible to create low porosity through systematic overlapping. Cons: Not flexible with curved images. The patterns could be very boring.
SCALE
DOPPLER EFFECT
The SCALE is experiement with the changing of inputs and out puts in grasshopper.
Doppler Effect is analysized through the changing of wave patterns within the grasshopper.
Size of the objects Manipulate the size of the object is the most effectively to create the intended pattern. Number of the objects Increase the number of the object would enhance the contrast between the void and solid.
INPUT: CIRCLES ASSOCIATION: IMAGE SAMPLER OUTPUT: SIZE OF THE CIRCLE INPUT: CIRCLES ASSOCIATION: ATTRACTOR POINT OUTPUT: SIZE OF THE CIRCLE INPUT: OVAL ASSOCIATION: ATTRACTOR POINT OUTPUT: NO. OF THE CIRCLE
35 Part II: EXPRESSION OF INTEREST/Matrix
Low Frequency Large Wave
Small Wave
Combo Wave
High Frequency
EOI
MODELING
Light Wave
Attractor A :Directions
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Part II: EXPRESSION OF INTEREST/Matrix
Strong Wave
Attractor A :Directions
EOI
MODELING
THE FIRST GLANCE Creating an exciting and eye catching effect AFTER THE FIRST GLANCE Make people think about, impressed Because they had a great experience. ARCHITECTURE AS VISUAL ART The effect created by Kinetic Art is never the same Because the world we live in, is always unexpected. MODEL The model was made with grasshopper and laser cut panels. The straws were also cut based on the grasshopper generated lengths, to ensure the dynamic surfaces are created. The straws are fitted by the fish lines, so that they can move by winds or other forces.
39 Part II: EXPRESSION OF INTEREST/Model
Front View
Side Views
EOI
SUMMARY
THE FEEDBACKS @OUR PRESENTATION FAILED TO EXPLAIN OUR PROJECT. @MODELLING Our project was suggested that could extend the use of grasshopper in modelling, as the present physical model seems could all be done in the Rhino 3D without grasshopper. More parametric variables should be used in the grasshopper modeling, including: improve the transition of the density of patterns, more dynamic generation of line positions, better expression of volumes of the straws. @CHALLENGES The key challenge of this project is to make the model kinetic, which means it has to move in certain ways. The kinetic forces that can be utlized onsite would be wind and rain. Although our original idea is the make the cylinders moving along the strings that driven by wind. However, in terms of contruction and structure, the system seems to be not to work as what we imagined. That is the movement that created by this cylinder system can be not so obvious, and thus not generating the “Architectural Effects� as we expected. The other chanllege is come up with the best kinetic system for the intended site. As Alison suggested, wind directions and weather profiles of the site should all be taken into considerations.
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Part II: EXPRESSION OF INTEREST/Summary
DIRECTION Porosity and the Doppler Effect was one of the focus for the project, however, it is difficult to combine those two ideas together. Instead of using porosity, the Dopper Effect could be explored with Density. The relationship between density and the Doppler Effect can be used as the base to create optical illusions, which can be linked to movement, which was our original idea for the design.
Density Kinetic
Doppler Effect Movement
Static
Optical Illusion Compression
Compression
Speeding Up
Slowing Down
Final Proposal “The term ‘Total Architecture’ implies that all relevant design decisions havebeen considered together and have been integrated into a whole by a well organised team empowered to fix priorities” Ove Arup, 1970
43 Part III: Final Proposal
Site
45 Part III: Final Proposal
Case: Hitchcock Hallway
Optical Illusion
AVPD
Hitchcock Hallway YEAR : 2010 EXHIBITION: Hitchcock Hallway, IKON Eastside, IKON Gallery, Birmingham, UK MEASURES : 2500 x 120 x 240 cm MATERIALS : Fire proof plaster boards, wooden laths, doors, door fixtures, door closers, carpet, paint, neon tubes, fixtures, perspex, skirtings, paint. Hitchcock Hallway is a series of 11 consecutive rooms. The rooms are connected by doors and they all look alike. One room leads to the next similar looking room which leads to the next similar room and so forth. The rooms are not alike. When moving into the rooms from the lobby all dimensions of the rooms slightly decreases, this makes the first room 13,21 m3 and the last room 5,26 m3. The change from one room to the next is unrecognizably subtle, but over several rooms it’s distinct. The title makes reference to director Alfred Hitchcock,
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Part III: Final Proposal
This is similar to what we want for the project, that is to create an optical effect through the increase the density of objects based on the rule of the Doppler Effects, which is to increase the number of objects, and reduce the distance between objects. By doing that, when drivers driving from the the objects that are less densed, optical illusion would create a feeling of “speeding up”. Oppositely, the driver would feel “slowing down”.
REFERENCE Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16. (pdf); Adaptive fittings http://www.adaptivebuildings.com/ Porosity http://www.adaptivebuildings.com/heliotrace.html Alantatic http://www.oneeyeland.com/photo4/cityscape/one_eyeland_atlantis_hotel_dubai_ by_raju_alexis_39169.jpg http://www.moneyweek.com/spending-it/blowing-it/404%20dubais-atlantis-thepersian-gulf-at-its-gaudiest-13761 http://www.e-architect.co.uk/dubai/atlantis_hotel_the_palm.htm http://www.watg.com/index.cfm/page/atlantis-the-palm-dubai/ W hotel http://www.archdaily.com/22572/w-hotel-bbg-bbgm/ http://www.coolhunting.com/design/w-hotel-austin.php http://inhabitat.com/new-w-hotel-in-london-is-wrapped-in-an-amazing-illuminatedfacade/w-london-leicester-square-jestico-whiles-1-2/ http://www.e-architect.co.uk/images/jpgs/london/w_london_leicester_square_ i110311_1.jpg http://www.e-architect.co.uk/images/jpgs/london/w_london_hotel_w170811_hc2. jpg http://www.e-architect.co.uk/images/jpgs/london/w_london_hotel_w170811_hc3. jpg http://www.urbanfab.org/uf/eng2_files/fabiendatanet-135K.jpg agent based http://www.arch.rpi.edu/2012/07/alexander-klafehn/ http://www.evolo.us/wp-content/uploads/2010/12/bao-1.jpg http://www.evolo.us/architecture/multi-agent-design-methodology-tu-delftresearch/ Sharp http://thomasdiewald.com/blog/wp-content/uploads/2011/08/diewald_gray_ P1020777_1.jpg Zaha http://plusmood.com/wp-content/uploads/2011/10/Zaha-Hadid_Form-In-Motion.jpg http://www.designboom.com/weblog/cat/9/view/3045/dubai-opera-house-by-zahahadid.html http://www.designboom.com/tools/WPro/images/08juneblogs2/op1.jpg http://designplaygrounds.com/deviants/dynamic-performance-of-nature/ http://www.liftarchitects.com/ http://www.liftarchitects.com/display/ShowJournal?moduleId=1119495&category Id=95362 wave http://www.tedngai.net/experiments/component-population-on-mesh.html http://www.grasshopper3d.com/forum/topics/wave-interferance http://www.scribd.com/doc/65995167/Grasshopper-Primer-090121-Rhino