INTERACTIVE PORTFOLIO Bowen Miao Jan. 2019
ACKNOWLEDGEMENT I owe my thanks to all support and help of my teacher Shuo Wang, Lei Yu, Hyde Meng and all teammates. Because of them, I can finish every project in this portfolio and learn more.
Bowen
Miao DESIGNER
Mio_93@foxmail.com +86 186 5467 2518 mbw1996641 @bowen_miao
SOFTWARE Rhinoceros Grasshopper T-Splines V-Ray Lumion SketchUp Pro Processing Autodesk Maya Autodesk AutoCAD Autodesk Revit Autodesk Ecotect Adobe Illustrator Adobe Photoshop SolidThinking Inspire
HARDWARE KUKA prc WorkVisual Arduino IDE
EXPERIENCE 2018-current
SOUTH CHINA UNIVERSITY OF TECHNOLOGY ARCHITECTURAL DIGITAL LAB (A.D.L) Sponsor
2018.7
ROBOTICPLUS COMPANY Engineer
Shanghai , China
— Alibaba Robotic Bar （Completed） Hangzhou , China
2017.12
2017.7
2016-current
2015-2017
ONE VILLAGE ONE MASTER Rural Revitalization Plan Assistant
TSINGHUA UNIVERSITY PARAMETRIC DESIGN WORKSHOP Assistant
ECO-DESIGN STUDIO President
SOUTH CHINA UNIVERSITY OF TECHNOLOGY Bachelor of Architecture
RESEARCH 2018-current
MULTI-ROBOT COLLABORATION — Hardware configuration and path planning in Multi-Robot System — On-line Programming & Off-line Programming
2017-2018
Beijing , China
WECHAT SUBSCRIPTION —— Avant-garde Foorum (AGF) Founder
— Youthotel interior design （Completed） — Garage facade improvement （Completed）
2014-2019
Guizhou , China
FIBRAC FORMING — Using deformed silica gel molds as plaster or concrete formwork to quickly process decorative panels with special curved surfaces.
Qiyun Mountain , China Guangzhou , China
First Industrial Robot George Devol 1967
CONTENTS ROBOTIC RECIPROCAL
01
Robotic Wood Construction with Chinese Mortise & Tenon Reciprocal 2.0
01 09
ROBOTICPLUS BAR
18
Reciprocal 1.0
Robot Bar at 2018 The Computing Conference
ARCHITECTURAL SIGHT CONFIGURATING
33
Southern China traditonal house design with algorithm feedback
THE MEANING OF LINE Chinese Calligraphy‘s form and architectural translation
43
01
Reciprocal 1.0 2016 Parametric Architechural Design Workshop - (2 Week Group Work) Sponsor : School of Architecture , Tsinghua University Instructor : YU Lei Contribution : Robot Programming / Fabrication
02
INSPIRATION
From the nature...
From the history...
In the nature , honeybees nest with hexagonal structure ,
Hundreds of years ago , Da Vinci sketched an unusualstruc-
because it’s the best balance between meterial and space . The twigs support each other to become a stable nest . The animals will find the most suitable structure for their life .
ture in his manuscript named “ RECIPROCAL ” . In the East, meanwhile , Chinese people created the Mortise-Tenon Connection to be details for palaces or temples .
TRANSLATION Same reciprocal units compose a system to support other units .
The systen can be deconstruct to several different units to control the curvature. Some unit patterns may be consisted by pentagon. It’s necessary for forming the curvature in the vault-structure , like football patterns . To form a greater curvature, the sum of the INTERIOR ANGLE needs to get closer to the ROUND ANGLE 360°
Planar Pattern
03
108 ° 120 ° 120 °
Bind Details
Transformation
FORM FINDING
Designing a plane from a rectangular prototype
Using RhinoVAULT to determine axial compression of curvature
Retopology - Transforming into triangular mesh
Optimizing the mesh to morphology next stage
Generating the reciprocal units
Adjusting the extent of the mortise and mortise overlap
PROCESS KUKA KR10 R1100 *2 KR C4 *2 AIR PUMP *2 FRETSAW *1
“Master” robot grabs wooden sticks from the 3D Print material feeding box .
“Master” robot grabs the wooden stick to fretsaw for sawing mortise and tenon .
Roboteam Calibration
Through program optimization , fretsaw can machining hundreds of mortise of wooden sticks by sawing .
Handler Test
“Slave” robot orientates the last wooden stick and the “Master” robot saws next wooden stick .
Fretsaw Test
04
TOOL Almost all of the tools were made by 3D-Printing , therefore , two robots could use the most convenient position to ensure the most efficent workflow . The End Chuck was designed with the difference of each wooden stick to make the tool can clench the stick and prevent wooden stick displacing because of the friction force on fretsaw .
KUKA robot
Flange
Robot Part
Air Clamp
Holder
Converter Part
End Chuck
End Chuck
End Part
End Part
“MASTER” Robot
Holder
Air Clamp
Converter Part “SLAVE” Robot
PROGRAM 3
Four different MORTISE & TENON need to be made by only one fretsaw . We used INVERSE OPERATION to make every mortise and tenon
5
move to same place and be sawn by fretsaw . When the MASTER ROBOT finished a wooden stick , robot would give that stick to the SLAVE
1
ROBOT and began the next different program
4 2
FRETSAW
BCO
Transfer Test
05
Fretsaw Work
Orientation
UNITS
BOTTOM
SIDE
CONNECTING
MAIN STRUCTURE Each unit is different in FORM and SIZE . According to the location difference of each unit, it can be roughly divided into four parts . BOTTOM part is the base of the whole reciprocal vault , therefore , their shape deform due to LOCATION and FORCE . SIDE part’s greatest feature is that some wooden sticks do not require two mortises and tenons to be machined , so they are divided into a special group during processing . MAIN STRUCTURE ‘s unit are more like the standard unit . Many similar units make structural strength together .
Fabrication 1
Fabrication 2
Fabrication 3
06
07
TO BE CONTINUED ··· ···
08
09
Reciprocal 2.0 2017 Parametric Architechural Design Workshop - (1 Month Group Work) Sponsor : School of Architecture , Tsinghua University Instructor : YU Lei Contribution : Concept / Design / Robot Programming / Fabrication
10
IMPROVEMENT FROM 1.0 In the previous version , details form is single. Every detail is a “MORTISE” , so it’s hard to catch each other . We gained inspiration from chinese tranditional architecture’s details . Using “TENON” and “MORTISE” to make the details get a good grip . By structural topologic optimization , we used “TREE” structure to replace interlocking structure . The whole structure can get more reasonable . It’s same as human's bone , the more pressure structure load , more crowded component will appear to share and transfer load .
TOPOLOGY OPTIMIZATION DESIGN SPACE creation
SOLID MODEL ANALYSIS
Is the result depend by shape refinement ?
With SolidThinking Inspire, structurally efficient parts are easy to design saving cost , strengthening durability , and improving safety .
CHOOSE METERIAL
TOPOLOGY OPTIMIZATION
ANALYSIS MODEL
In form finding stage, we utilize SolidThinking Inspire to help us to generate a structurally efficient shape. By iterating several times,
SIZE OPTIMIZATION
ANALYSIS MODEL
SECTION DATABASE
Inspire will analysis the loading conditions to generate the ideal shape. While the result from Inspire could not be used to fabrication direct-
STRUCTURE COMPLETED
FURTHER VERIFIES
ly, we could refine an accurate model by using reverse engineering and PolyNurbs.
By SolidThinking Inspire
Detail test
11
Machining Platform
3D-Printed Tool
GROUPED FABRICATION Group 1 — 80mm wood sticks
There are 23 pairs of wood sticks joined end to end in this group, which located on the EDGE of the bridge. Each end of the combination would be connected to paper pipe. Some wood stick of this combination has a mortise used to connect to the opposite side or joined to the main stucture.
Group 2 — 80mm T-junction wood sticks
It is obvious that group 2 occupied the most part of wood sticks in the project, simultaneoulsy it is also the time-comsuming part due to the complicated workcraft. There are two kinds of wood stick. One needed to be milled a mortise in the middle of the wood stick and which appreciate to the inner radius of paper pipe. The other one had to be milled a tenon .
Group 3 — 80mm paper pipe + 110mm paper pipe
Although the amount of paper pipe components seems huge, it could be finished qucikly. By using the sliding table saw , it was quite simple to split the paper pipe according to the data exporting from grasshopper.
Group 4 — 110mm wood stick + concrete foundation
The cylinders illustrate are the wood sticks with 110mm radius. As the main
loading structure, it is undoubted that it would thicker than the other part. However , when mortising out the channel for a 80mm wood tenon, it will have a larger contact area with the drill, which had to slow down the speed of movemont.
sliding saw table
Calibration
Unit Test
12
ENVIRONMENT & TOOL
ASSEMBLING PART
CUTTING PART
MILLING PART
We fabricated these components in a reconstructed container, where we divided the space into three parts: cutting, milling and assembling. In the first area, we used sliding saw table to split the raw material into different parts according to the data exported from Grasshopper, and then we labeled them. In the milling zone, by fixing the wood sticks into the platform designed by ourselves, a kuka robotic arm with milling cutter was used to carve out the mortise and tenon on wood sticks. A dust wiper was used to collect sawdust on the ground simultaneously. Due to the fact that there were two sizes of diameters. Wood sticks with 80mm diameter were fixed in a 3d-printed groove and tightened up by carpenter’s clamp. Those sticks with 120mm diameter were fixed in air-actuated clamp so as to avoid the unstableness when high-speed milling cutter carved the sticks. After the milling process, those fabricated components were collected together according to labels in the third area, and then they were packed for delivering to the construction site.
120mm diameter’s tool
80mm diameter’s tool
Debug
13
Concrete Base
Assembling
MORTISE & TENON 80 °
35°
50 °
25°
Due to the fact that the process of reverse engineering was hard to control, the degrees of the wood stick combinations in Group 2 (80mm T-junction wood sticks) were distinct, ranging from 83.1° to 32.2°. At the same time, Group 2 occupied the majority of components which need to be milled mortises. The length of each wood sticks could be calculated and counted by Grasshopper readily, and then the sliding table saw was used to cut the raw wood stick into different parts using the length information. Labeling indexes on wood sticks was necessary as soon as we splited a part of wood stick from raw material. However, what we gained from reverse engineering was a group of center lines of wood sticks and paper pipes. When we tried to use the ‘pipe‘ command in Rhino, we released that
Milling
TYPE A
TYPE B
TYPE C
TYPE D
TYPE E
TYPE F
when degrees smaller than 35°, the black stick nearly be penetrated by the grey one. Therefore, we determined that a safety line was necessary to ensure the black stick has enough thickness, which means the length of grey stick should be shorten accordingly. After several tests and analysis, we set 50° as the tipping point. Thus, if the grey longer than the safety line, it will be shortened to appropriate length when exporting the data of length. Simply, we only have two kinds of joints: wood stick to paper pipe and wood to wood. In the first kind of joint, we just need to reduce the diameter of wood stick from 80mm to 76mm so as to adopt to the inner diameter of paper pipe (TYPE D). When it comes to the second joint that is connected between wood sticks, we need to utilize the other five types of trails to realize the joints.
Fabrication 1
Fabrication 2
14
15
“Mortise” and “Tenon” are the most traditional chinese details Robot and program are the most advanced technology Hoping that I can find a new way to finish a classical interpretation and the robotic wood construction will continue ... ...
16
17
RoboticPlus Bar 2018 The Computing Conference - (3 Month Group work) Sponsor : Alibaba , Hangzhou Contribution : Design / Robot Programming / Fabrication
18
User 2
User 1 Confirm Order
Confiremed
Order Number
021
Pick up Code
79923
Waiting Time
sec
Alipay
APP Cocktail 01
Payment
Cocktail 02 Cocktail 03
Alibaba Server
Order Confirmation
Order
Payment Confirmation
Order
Database
Order List
[01*1,02*0,03*1,···]
Order List
[01*2,02*1,03*0,···]
Confirmed
True
Confirmed
True
Server Order _001
Order List + Comfirmation
Order _002
Order List + Comfirmation
Order _003
Completed
··· ···
··· ···
PC RSI Server IN
Code
False/True
False/True
True
Wait for Confirmation Program Start
False/True
Program Finished
FLOWCHART
19
Type
If finished
001
Cocktail 01
True
002
Cocktail 01
True
003
Cocktail 02
True
004
Cocktail 03
False
005
Cocktail 03
True
006
··· ···
··· ···
KUKA Master RSI OUT
Send [sendXML ="<Sen Type=\'lmFree\">" +"<Dio1>"+"1"+"</Dio1>" +"<Dio2>"+"0"+"</Dio2>" +"<Dio3>"+"0"+"</Dio3>" +"<IPOC>"+"0000000000"+"</IPOC>" +"</Sen>\n";
Num
Code
OUT
WAIT FOR Cocktail 01
True
WAIT FOR Cocktail 02
False
WAIT FOR Cocktail 03
False
··· ···
··· ···
Confirm Type I/O
False/True
START I/O
False/True
Finished I/O
False/True
KUKA Master RoboTeam IN
MAIN CODE
KUKA Slave RoboTeam
OUT
IN
MAIN CODE
OUT
PATH COCKTAIL_01 ()
True
PATH COCKTAIL_01 ()
PATH COCKTAIL_02 ()
False
PATH COCKTAIL_02 ()
PATH COCKTAIL_03 ()
False
KUKA Master Cocktail 01 SUB CODE
I/O
gripperOpen
True
go to get Cup
PATH COCKTAIL_03 () Key
Field
Type
Key
Field
Type
Key
Field
Type
KUKA Slave Cocktail 01
TYPE
SUB CODE
I/O
TYPE
OUT MOVE
gripperClose
True
inCupGrabbed
True
IN
False
OUT
go to ice Maker
OUT
MOVE
gripperOpen
True
OUT
iceDrop
True
OUT
if_full
True
IN
iceDrop
False
OUT
gripperClose
True
OUT
PROGSYNC 1
SYNC
go to AddWine
MOVE
go to AddWine
PROGSYNC 2
SYNC
PROGSYNC 2
PROGSYNC 1 MOVE MOVE
move down Pump 01
True
Pump 02
OUT MOVE
move up & move down True
OUT
True
OUT
move up Cap extend PROGSYNC 3
PROGSYNC 3
shake movement
shake movement
MOTIONSYNC
MOTIONSYNC
go to table gripperOpen
OUT
go to Lemon gripperClose
MOVE
go to clean True True
OUT
True
OUT
Pump spray
True
OUT
Pump spray
False
OUT
go to Cup gripperOpen go to HOMEPOSITION
ROBOTIC SIGNAL
20
EXPLODED-VIEW
21
Cup Holder — Cup Holder provides plastic cups for robot to make cocktail . Everytime the gripper takes a cup, the next cup will move to the original position . In order to prevent the gripper can not grasp the cup because the cup is not moved to the original position . We set up two infrared sensors at the bottom of the Cup Holder. Normally , two sensors can receive signals . If one of the sensors receives signal , but the other one does not , that means the cup has moved downward but has not move to the original position. When this happens, the robot will control the gripper move higher to grasp the cup. When neither sensor receives the signal , it means that the Cup Holder maybe have some problems and the robot will stop , waiting for the staff to solve them . Ice Maker — It can make the ice needed for cocktail . At the bottom of the Ice Maker where can put the cups , we put a a gravity sensor to ensure that the number of ice cubes dropped in the cup is equal . Drinks Tube — There are six tubes with different base liquor , including tequila , cointreau , aperol , whisky and soda . On the one hand , the drink tubes can provide basic liquor for cocktail , and on the other hand , it is also a publicity for tourists . Pump Spray — Pump spray is not used to clean cups, but is used to wash the cup cover on slave robot . After every cocktail is served , slave robot will move to the pump spray and press downward . The cup cover can be cleaned by water and prepare for the next cocktail .
SUPPORTING FACILITIES
22
Structural Lectotype
100*100 10mm SQUARE TUBE
100*100 10mm SQUARE TUBE ROBOT BASE 150mm BOLT 100*200 10mm BEARING PLATE
20#A I-BEAM
STRUCTURAL FRAMEWORK
23
Path Planning
CONSTRUCTION
24
MotionSync
170°
170° 170°
170°
1051 288 1101
213
GeoLink
420 +45°
35
960 560
-190°
80 +156°
515 +45°
245.5 901.5
RELATIVE POSITION
25
851.5
1620
855
455
Lxy
1476
-190°
1276
1988
80
Relative Location & Path Planning —— The master robot situated below needs to complete a series of commands, including grasping cups, moving to Ice Maker and sending cocktail to the customer. The slave robot situated above has the movement of pouring wine, cleaning and so on. The most important part is the motion ranges intersection area of the two robots. The two robots need to work together to complete many complex movement in this area, like shaking, rotating etc. To avoid collision, we drew detailed dimension drawings and carried out experiments with KRL programming. After many tests we found that in order to reduce the difficulty of path planning and avoid the paths robots can not be completed, it's best that the range of motion of a robot does not exceed the center of another robot. The final position is determined after many adjustments.
MotionSync & GeoLink —— These are two different modes of robotic collaboration. MotionSync means the same number of planes in two robot commands. When one of the robots reaches a certain number plane in its own program, the other will also reach the same number plane position in others program.The advantage of this mode is that two robots can complete different paths separately. But when the paths enter the intersection area of the motion range of two robots, The distance between the two robots is very close. Especially when shaking cocktail, two robots need to move synchronously. So we need a new way of robot collaboration — GeoLink.This mode requires only one robot program, Another robot follows the programmed robot completely. Although in this mode, two robots can only complete the same path. But this is the most appropriate mode for this situation, just like when a person shakes a cocktail, both hands move the same way.
ROBOT SYNERGY
26
SPRING
CONDENSER PIPE
DOWEL HOLE
PUMP
TELESCOPIC CUP COVER
VI. Whiskey
I. Soda
STRUCTURAL FGRAMEWORK
27
V. Lime juice
II. Cointreau
IV. Aperol
III. Tequila
I. Soda
Cointreau Fizz
II. Cointreau
III. Tequila
Whisky Float
IV. Aperol
Highball
V. Lime juice
Aperol
VI. Whiskey
Margarita
CONSTRUCTION
28
ROBOTIO provides 12 signal output ports in this system . There are six different kinds of drinks in our robotic bar. OUTPUT 201 to 205 are used to control 5 SOLENOIDS . The solenoid can prevent drinks from splashing while robots shaking . OUTPUT 206 serves as a low-speed infusion signal for Whisky Float (A layered cocktail that requires slow infusion of WHISKY ). OUTPUT 211 to 216 are six different kinds of drinks infusion signals with high-speed . All infusion signals of drinks are sent to the MOTOR through the DRIVE MODULE ( L298N ) . Because the ROBOTIO provides IO signals of 24V , so firstly , we need a RELAY MODULE ( RELAY-12-SRD ) to turn the voltage of 24V to 5V (Arduino IO) . Arduino MEGA connects each module in this system as the centre module , IO 0 to 12 are used to serve for three DRIVE MODULE . IO 22 to 33 connect twelve electrical resistances ( R01 ) . Electrical resistances can ensure that the signal is the expected signal when input from RELAY to Arduino , that means INPUT SIGNAL is the LOGIC LEVEL be expected .
HARDWARE SIGNAL
29
K12
TX1 18
SCL 21
SDA 20
RX1 19
U10 MOTOR
216
K11
DIGITAL
TX2 16 RX2 17
22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52
215
K10
VCC.1 K9
A8 A9 A10 A11 A12 A13 A14 A15
COMMUNICATION
214
213
K8
TX3 14
RX3 15
U9 MOTOR
IN12
IN11
ANALOG IN
212
TX0 RX0
L298N
IN10
IN9
K7
A0 A1 A2 A3 A4 A5 6 A7
PWM
IN8
IN7
K6
7 6 5 4 3 2 1 0
U8 MOTOR
211
IN6
Vin
GND
GND
5V POWER
IN5
IN4
IN3
K5
13 12 11 10 9 8
U7 MOTOR
206
205
3.3V
RESET
IOREF
AREF GND
L298N
IN2
GND.1 K4 IN1
K3
K2
K1
U6 MOTOR
204
203
202
201
U5 MOTOR
L298N
10K R01
31 33 35 37 39 41 43 45 47 49 51 53
+5V
RELAY-12-SRD RE01
VCC 24V
ROBOTIO
HARDWARE DIAGRAM
30
31
32
33
SIGHT CONFIGURATING Southern China traditional house November 2016 Studio work - (3 Week Group) Instructor : WANG Shuo Site : Guangzhou , China
34
SITE CONTRADICTION In Guangzhou, the contradiction between high-rise buildings and traditional residences is becoming increasingly fierce. Part of the reason is the allocation of land resources, and more important reason is the sight disturbance from higher modern buildings to low traditional houses. Traditional dwellings in southern China have many courtyards. Because these courtyards are in the interior of the house and are not affected by the external environment, they are usually used to do some more private activities, such as sunshine, tea or yoga. But the existence of surrounding high-rise buildings disturbs with the privacy of these courtyards. Because of these effects, more and more low-rise residential design abandoned the courtyard part, resulting in less and less opportunities for people to feel nature in their daily life. This design generates some blind areas of sight as courtyard part of low-rise residential buildings through the simulation of sight. Every part of the building shape and surrounding environment has a direct impact on the final design. I want to build a system based on texture and sight of the site and complete this house through design (subjective) and system simulation (objective).
Site analysis â&#x20AC;&#x201D; the designed site locates at an area of residences where new and old ones are mixed and traffic roads are on both sides. So the form of introverted building is selected and the form of opening layout is given up. Because many high buildings are surrounded with a larger sight affection, so it is expected to evade these disturbances with digitalized means so as for a better privacy.
Variable introduction â&#x20AC;&#x201D; because many surrounding high buildings and many residents living in each building, in order for a smaller calculation, merely an analysis method is put out for setting up of an initial analysis system. The sight disturbances from surrounding high buildings is simplified coming from merely four points in this design, control of these four points derives the influential factor to the building form.
Grid division â&#x20AC;&#x201D; grid division is based on the bone lines and boundaries of the designed site, which is also the basis of next initial division of function and sight analysis. In such way, the digital simulated-based result can accord with the texture of designed site, and form a complete and initiative system.
35
FORM DIAGRAM To complete the simulation of the line of sight and determine the blind spot of vision, it must rely on reasonable simulation logic so as to establish a simple and effective model. The relatively appropriate morphology generation logic and formal vocabulary are obtained via the exploration of the primary form in the model system. The simple analysis grid in the constructed model is then replaced by the analysis grid which is generated based on the actual site environment and texture. First of all, create a polygon, and also you can say a surface in the analysis model. Each surface represents one side wall, and one surface has n vertices. The rays emitted by the interference points of the line of sight pass the vertices of each surface, and have a one-to-one intersection point with the base plane. The order of the intersection points is consistent with the order of the vertices of the surface. Therefore, you only need to connect these intersection points and the polygons that are formed are the shadows of the initially set surface on the base plane. When the initially set surface is multiple, the same method can be adopted to calculate the shadow shape of each surface on the base plane, and then use the region union algorithm in grasshopper to combine the shadows of several different surfaces so as to obtain the overall shadow range. In terms of form, the experimental method of control variables can be used to evolve from the initial simple single wall that conforms to the orthogonal grid. So it can conduct analysis and comparison in many aspects such as the number of walls, the angle between the walls, the height of walls, the wall circumference and the degree, the relationship between the walls and the roofs, etc. The experimental results are not to blindly pursue the size of the blind spot area of the line of sight, but to seek the appropriate blind spot area of the line of sight formed by the unit area under the influence of the same environmental factors.
UNIT
DUAL
INCLINE
ENCLOSURE
36
FEEDBACK SYSTEM Five simple function divisions are initially partitioned based on the site texture and placed into the analysis system of the previous framework. Based on the actual situation, each block only needs to consider the visual interference point nearest to it. The shadow range generated by each block on the base plane can be obtained from the previous analysis model, and the shadows generated by the block may overlap each other. The area where there is no overlap is defined as S1, the area where the shadow of two blocks overlaps is defined as S2, and so on. The area change of different areas can be seen in real time via the push-pull control of the shape. Because the starting point of the project is based on the study of the privacy and line of sight of the residential courtyard, the subsequent series of morphological changes are also conducted around the changes of the courtyard.
37
S1=208m2 S2=133m2 S3=40m2 S4=4m2 S5=<null>
S1=246m2 S2=156m2 S3=43m2 S4=4m2 S5=<null>
S1=270m2 S2=188m2 S3=60m2 S4=7m2 S5=<null>
S1=275m2 S2=192m2 S3=60m2 S4=7m2 S5=<null>
S1=250m2 S2=187m2 S3=63m2 S4=7m2 S5=<null>
S1=288m2 S2=142m2 S3=28m2 S4=0m2 S5=<null>
S1=290m2 S2=139m2 S3=30m2 S4=0m2 S5=<null>
S1=292m2 S2=115m2 S3=22m2 S4=<null> S5=<null>
S1=295m2 S2=106m2 S3=20m2 S4=<null> S5=<null>
S1=298m2 S2=110m2 S3=20m2 S4=<null> S5=<null>
S1=291m2 S2=106m2 S3=20m2 S4=<null> S5=<null>
S1=300m2 S2=140m2 S3=22m2 S4=<null> S5=<null>
S1=290m2 S2=163m2 S3=36m2 S4=0m2 S5=<null>
S1=290m2 S2=165m2 S3=35m2 S4=0m2 S5=<null>
S1=350m2 S2=209m2 S3=68m2 S4=11m2 S5=<null>
S1=331m2 S2=197m2 S3=47m2 S4=0m2 S5=<null>
IMPROVEMENT • First of all, form a courtyard between the living room and the dining room through deformation, and then expand the area of the attached functional areas (including guest bedroom, bar, storage room, etc.) to meet the functional requirements. In the process of this adjustment, it is found that the change of the shape will affect the privacy of the enclosed courtyard (to be specific, the shaded area and overlapping part of the courtyard are reduced). Therefore, the shapes of the attached functional areas are re-planned in order to obtain the courtyard space with more sense of enclosure. • In traditional Chinese dwellings, the courtyard is also divided into public and private parts. The public courtyard serves the living room, the dining room and other guest reception areas, while the private courtyard is more often in the study room and bedroom. The courtyard space with more suitable area and privacy can be obtained through adjusting the physical relationship between the bedroom and the study room. • Finally, the number of floors in the vertical direction is increased based on the area requirements of each functional area, and the residential and auxiliary functional areas become two layers. Each block is cut in the Z-axis direction based on the line of sight in order to form the final shape.
According to the previous adjustment, determine the general shape of each block, and increase the number of layers of the block according to the area requirement of each block function. Then get a rough block of the project.
Cut down the building block according to the line of sight. Under the circumstance of ensuring the privacy of the courtyard, lower the height of the block as much as possible to avoid people’s sense of oppression in the courtyard.
Connect each block, plan the rough spatial relationship and streamlines, adjust the visibility of the line of sight, and change part of the solid wall into the glass curtain wall.
The partition wall is laid out based on the axis of the site, and the functional area of each part of the room is refined in the form of echoing the overall from the inside.
Cut down the block again to produce an entrance foyer. And increase the windows of dining room and bedroom to improve the lighting on the basis of not affecting privacy.
Fine-tune the details according to the function requirements, improve the degree of comfort of the space, and lay out the corresponding furniture.
Concrete model
38
ISOMETRIC VIEW
39
SECTION
section 1-1 section 2-2 section 3-3
0 1
5
10m
±3.20
±0.00
section 1-1
±3.20
±0.00
section 2-2
±3.20
±0.00
section 3-3
40
PERSPECTIVE
Living room
Dining room
Bar
Study 41
42
43
书·法·势 THE MEANING OF LINE Chinese Calligraphy Museum May 2017 Studio work Instructor : WANG Shuo Site : Guangzhou , China
44
Chinese calligraphy art is the art of lines. The shortened lines become the elements of "dots" in calligraphy. And the bold lines also constitute an element similar to "surface". Every character in Chinese calligraphy is composed of "dots", "lines" and "surface". These basic strokes constitute the foundation of Chinese calligraphy - STROKES. In architecture, each part of the building's shape is also a unique element in the building. Different elements not only correspond to different architectural forms, but also represent different architectural spaces. Only when these elements combine with each other can they form a complete building. (Individual)
法
书
Individual
Group
Form
Space
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势
Flow
Entirety
Function
Sequence
Rhythm
As more and more different elements come together, a rule is needed to guide them from an unordered state to an ordered combination. In Chinese calligraphy, different strokes need to be combined in accordance with different rules. In the process of combination, some minor deformations are also carried out to make the whole more harmonious. Through summing up these rules, the second level of Chinese calligraphy, that is, the FRAME STRUCTURE, is generated. The frame structure of calligraphy is called spatial sequence in the architecture. And it is necessary to organically combine the architectural space of different functions in order to form a set of unique experience of this building. Therefore, a similar set of logic for processing architectural spatial sequences can be translated by referring to the role of the "frame structure" rule on "strokes" in Chinese calligraphy. (Group) After each character is built according to the rules of the frame structure, the Chinese calligrapher should link all the characters with an entire vision. In the process of contact, different characters will have different ways of changing, such as narrowing or enlarging, tilting or stretching, aggravating or fading. Some of the changes are directly targeted at the strokes. After the contact, the entire feeling that the calligrapher wants to create begins to appear, thus it also generates the most unique level of calligraphy art — temperament. Even the same elements will show different temperament through different changes. Some characters become larger and bolder. And some characters are simplified into one or several strokes. From this change, you can feel the rhythm contained in Chinese calligraphy, which is similar to the rhythm of the architectural space. A building also reflects the characteristics of the building via different changes in space. By refining the rhythm contained in calligraphy, it is projected into the architectural space, and the architectural space that is formed itself also has the essence of calligraphy art. (Entirely)
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RHYTHM
In a calligraphy work, the size of the characters, the font-weight of the strokes, and the flow of the strokes can all affect the rhythm and feelings of the work as a whole. By some quantitative analysis of the rhythm of Chinese calligraphy, a convergent law may be obtained. This law creates a sense of balance of Chinese calligraphy works in the dynamic state and creates a harmony between the differences. If this law is grafted into the architectural space, can it make the architectural space get the rhythm and feeling of Chinese calligraphy? As we all know, a picture is composed of many pixels. If the whole calligraphy work is regarded as a picture, black and white pictures are obtained by processing the calligraphy work, and the interference of other elements is excluded (2-1). Then subdivide the whole calligraphy work, and extract the black, white and gray pixels in each subdivided area (2-2), and assign different values to different gray scales (2-3). Represent these values by a curve in the plane coordinate system, and you can get a curve similar to the electrocardiogram. Since the curvature changes too much, there is not much value for analysis and translation. However, this curve reflects the gray scale information contained in each character in calligraphy, which can be used as another foundation to continue the simplification and analysis of the data. Using the thought of calculus, sum up the area corresponding to each Chinese character, then you can get a value. The value represents the corresponding obtained gray scale of it, and also reflects the proportion of the gray scale of this area in the whole. Concatenate many of these values together, you will get a new curve, which reflects the rhythm of a calligraphy work and provides the possibility of transforming this rhythm into architectural space. 2-3
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S1 S2 S3 S4 S5 S6 S7S8
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IMAGERY Strokes are the most basic unit of Chinese calligraphy, and also carry the most traditional image of Chinese calligraphy. In the Bizhen Figure of Mrs. Wei, the teacher of Wang Xizhi (an ancient famous Chinese calligrapher), she wrote: ‘Horizontal stroke’ is like a thousand miles of clouds, faint but in fact tangible. The ‘dot’ is like a stone falling from the peak, knock but solid as a collapse. ‘Left-falling stroke’ is like a broken rhinoceros. ‘Turning stroke’ is like a hundred crossbows launching. ‘Vertical stroke’ is like a long lived vine. ‘Right-falling stroke’ is like a rush of thunder. ‘The hook stroke’ is like a strong crossbow and stiff knot. Many traditional cultures in China pay attention to the thought that "Dao operates naturally". The Chinese characters are also derived from nature and developed from hieroglyphics. In the concept of Mrs. Wei, she tried to return all the strokes back to their "natural" status. Extract the most crucial natural image in each stroke and present this natural image in the form of space, then it will produce a space with different form, scale and other elements. These spaces are only an intention. For example, the “horizontal” space reflects the ductility and fluidity. The font-weight of the strokes reflects the different spatial complexity. These image spaces are the second step in the translation of calligraphy and architecture. They provide the most primitive and basic space prototypes for the whole process. These space prototypes will change in the subsequent series of operations, but the spatial image and the spirit that "Dao operates naturally" are the rules that will run through the whole process.
横
Horizontal
Vertical
竖
Dot
点 47
书 Hook stroke
钩 Right-falling stroke
捺 撇
Left-falling stroke
Turning stroke
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法
FORM DIAGRAM The complexity of Chinese characters is not derived from the strokes themselves, and their basic strokes are only seven or eight. However, more than 100,000 Chinese characters have been created with these seven or eight strokes. A large part of the reasons lie in the combination of these basic strokes. When the same element is combined with different elements, it will produce new and different elements, which are called radicals in Chinese characters. Even if the
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same elements (that is, strokes) are combined, it will produce a new radical because the intersection position of the strokes is different and the angle of intersection is different.
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According to this established law, it is possible to produce a very large number of different combinations of elements by a few simple elements. So if you combine several simple architectural space prototypes in this way, can you also get rich architectural space? In order to refine the law of the combination between strokes, it is necessary to simplify the form of strokes, simplify the complex curves as much as possible, but not lose too much detail. We resort to a public override PointCollection Filter(PointCollection points) { curve simplification method to help if (points.Count < 2) { return new PointCollection(points); refine the law of stroke combination of } else { int? first =characters. 0; Chinese int? last = points.Count - 1;
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<45°
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var markers = new bool[points.Count]; markers[first.Value] = markers[last.Value] = true;
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var index = 0; var stack = new Stack<int>(); var newPoints = new PointCollection(); while (last.HasValue && first.HasValue) { var maxDistance = 0.0d; for (var i = first.Value + 1; i < last.Value; i++) { var distance = GetPointToSegmentDistance(points[i], points[first.Value], points[last.Value]); if (distance > maxDistance) { index = i; maxDistance = distance; } }
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if (maxDistance > Tolerance * Tolerance) { markers[index] = true;
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stack.Push(first.Value); stack.Push(index); stack.Push(index); stack.Push(last.Value);
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}
if (stack.Count > 0) { first = stack.Pop(); } else { first = null; }
for (var i = 0; i < markers.Length; i++) { if (markers[i]) { newPoints.Add(points[i]); } }
}
}
return newPoints;
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if (stack.Count > 0) { last = stack.Pop(); } else { last = null; }
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/// <summary> /// </summary> /// <param name="p"></param> /// <param name="p1"></param> /// <param name="p2"></param> /// <returns></returns> private static double GetPointToSegmentDistance(Point p, Point p1, Point p2) { // (a cross b) = |a||b|sin(θ) => |a|sin(θ) = (a cross b)/|b|
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var a = p - p1; var b = p2 - p1; if (b.LengthSquared < double.Epsilon) { return a.LengthSquared; }
}
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var distance = Vector.CrossProduct(a, b) / b.Length; return Math.Pow(distance, 2);
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EXPLOSIVE VIEW
Exhibition hall II
Exhibition hall III
Viewing Platform
Video Hall
Exhibition hall I
Restoration Office
Restaurant & Shop
Entrance
Theme Exhibition
Lecture Hall
50
SECTION
01
51
5
10m
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As a term entering the computer realm in the 1980s, “INTERACTION” becomes a new description of the relationship between people and computers by replacing “interface”. After experiencing enthusiastic worship and abuse of digitization, people gradually calm down and re-examine the positioning and value of it in the field of design. Although the new wave of “code” and “robot” can not be ignored, the computer still can't completely think in term of “people” even if it has passed the Turing test, so design may also be dominated by people at present time node. In addition, the “best solution” seems to be the most powerful excuse to support a design when we just simply pursue “NP=P?”. Therefore, I also hope that the system formed between people, code and robot can be an equal relationship in the design process, while the designers can exert their subjective initiative as much as possible to make the design process more diverse through their interaction with computers and robots instead of solving all problems by relying on iteration.