matrix part 2

1

AIREOI: CASE FOR INNOVATION

PRODUCED BY SHIQI TANG 531504

REZA ALI, EMERGENT

2

3

CONTENT

A.0 ABOUT ME....................................................................................................

A.1 ARCHITECTURE AS A DISCOURSE............................................................

A.2 COMPUTATIONAL ARCHITECTURE............................................................

A.3 PARAMETRIC MODELLING..........................................................................

A.4 ALGORITHMIC EXPLORATIONS..................................................................

A.5 CONCLUSION...............................................................................................

A.6 LEARNING OUTCOMES...............................................................................

REFERENCE......................................................................................................

04

06

14

20

26

30

32

36

4

ABOUT MEPREVIOUS WORK

A.0.

5

My name is Shiqi Tang (Sunny), 21 years old. I am an international student who has been in Australia for almost five years. My hometown is Yichang, which locates in the central part of China near the Yangtze River. I finished my high school in Adelaide and now doing architecture in the final year of the bachelor of Environment in Melbourne.

The reason why I love architecture is because I like being rational in the design field. The creation of spatial relationships in a practical way is also attractive to me as it involves consideration of the human beings and the surrounding environment.

I have limited experience with the digital architecture as the outcomes of my digital works let me feel less confident about them. However, with the practices in the past few semesters, I have improved my skills in using AutoCAD, Adobe series and Rhino.

The difficulty that I usually have while I am using digital tools is the lack of creation. This is because of the lack of experiences and experiments of this sort of product. I wish I would enhance my digital skills, especially about Rhino, by the end of this semester.

6

ARCHITECTURE AS DISCOURSE

A.1.

7

the first element can be seen as a representation of the hi-tech parts in the contemporary age, this idea would be a representation of the emotion from the past in the concurrent period. Both of these two elements are important as human being that requires the feelings for designing creates architecture.

On the other hand, the delivery of this idea require the technology part to make the design becomes true. Thus, the technology allows the formation of the body and the emotional aspects create the vessels of the inner connection. This emotional idea is similar to what Richard Williams suggests as ‘architecture as sign’3. It is the emotion that is a sign of demonstrating the development through the modernism era to the post modernism era as well as the core concerns for a particular society.

Two examples are selected to analysis these core elements. One is from Zaha Hadid’s design and the other one is from last year Pritzker winner, Wang Shu’s project. Although they are representing two different approaches of the discourse, notions from both of them are evident and crucial for the design process of the Gate Way project.

The understanding of architecture as discourse can be seen as the representation of ‘zeitgeist‘, that is the ‘spirit of the age‘. Since architecture contains a variety of domains, such as aethestic value and new technologies, the discourse of architecture is apporached differently through each period. Thus, the discourse of contemporary architecture, to me, contains two core elements. There is a representation of innovation as well as a resonating with place and memory.

The represebtation of innovation reflects the movement from the traditional architecture realm towards a contemporary approach through out the new opportunities offered from advanced technology and social, cultural values. It challenges the traditional visual culture1 of architecture in its scale, density, construction methods as well as the emphasis on certain design rules. This idea brings the experiences which is something never existed before. Moreover, the use of technology for an innovative outcome creates a new aesthetic effect. It gives the most direct visual experience2

of not only the architecture itself, but also the strong link with the contemporary features.

Resonating with place and memory is another approach that seems opposite to the innovation. If

1.Richard, Williams. ‘Architecture and Visual Culture’, Exploring Visual Culture: Definitions, Concepts, Contexts, (Edinburgh: Edinburgh University Press, 2005), pp. 103-1052.Williams, Exploring Visual Culture, pp. 1063.Williams, Exploring Visual Culture, pp. 110-112

FIG. 01

8

ZAHA HADID GALAXY SOHO BEIJING


FIG. 02

9

Galaxy SOHO contains the complex of retail, offices and entertainment. The design is inspired by the grand scale of Beijing, which would focus on forming a new living center in Beijing. The design is a true innovation in architecture because of the use of curve linearity to avoid using sharp concerns and abrupt structure.

Zaha Hadid applied a fluent language to the building structure, which is fulfilled with similar continuing curvy layers. This particular style is understood as ‘parametricsm’4 that has raised a debate between the use of hi-tech and the traditional visual culture. As traditional Chinese architecture considers the use of rules and geometrical shapes, the fluent structure dose not seems as a part of the surrounding environment.

However it is a rational design as each sector of the building generates different lighting and spatial experiences for the users. The users would gain stronger sense of immersion and envelopment as they enter deeper into the building with the same coherent formal logical curvy pathways. In addition, the technology used by Zaha Hadid is the well-know parametric design, which is formed from the idea of algorithm.

Algorithm means that a serial mathematical language, which links ‘definite’ and ‘effective’ together5, creates the basic computer structure for design. It is an innovative way in architecture design as the idea of algorithm concentrates on how the function is computed, rather than merely what the function is. As design is an infinite approach, more possibilities can be extracted from this accurate computational technology.

4.“Digital Morphogenesis”, Patrik Schumacher, “Parametricism”, NZ Architecture, Last modified 23 September 2010, http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/ 5. Robert A. and Frank C. Keil, eds. ‘Algorithm’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press,1999), pp. 11

FIG. 03

FIG. 04ZAHA HADID GALAXY SOHO BEIJING

10

FIG. 05

FIG. 06

FIG. 07ZAHA HADID GALAXY SOHO BEIJING



11


12

WANG SHU NINGBO HISTORIC MUSEUM


FIG. 08

13

Wang Shu’s design of Ningbo Historic Museum has a strong consideration on the word ‘history’. As historic museum is the place of telling the old story of the place, such strong emotion of link backwards inspired him to search something from the past. Something could represent the resonating with time, place and memory.

The structure of this building is from the traditional Chinese courtyard design; The cladding of the building is all from the old demolished traditional residential houses from this particular site. Each part of the cladding has its own memory from this land and with the people who has been lived here for generations. Although the overall structure is not belong to any of the traditional Chinese architecture, but the memory on every layer of the building does contain the spirit from the past.

This strong link of memory in architecture perhaps is another intricate and important approach in considering the overall experiences for the users under the particular environment. This also related to William’s theory about architecture and urban experience in considering both spatial experience and the influences of the built-environment to occupants6. The performance of the building is relaying on not only the design itself but also the surrounding environment. The selecting of material or the spatial relation within the building requires considerations on reflecting the particular environment.

In conclusion, the engagement of both the innovative technology and the urban experience is believed to be the contemporary ‘zeitgeist’ which will also be applied in the following design approach of the Freeway Gateway.

6.Williams, Exploring Visual Culture, pp. 114-115

14



FIG. 11

FIG. 09

FIG. 10WANG SHU NINGBO HISTORIC MUSEUM

15


16

COMPUTATIONALARCHITECTURE

A.2.

17

Computation architecture is part of the architecture discourse, which represents sophisticated scientific and technological aspects of the design.

On the one hand, it promoted the architects to a new and efficient level that sometimes they have to think and represent their works through computer language. This means that at the first place, they have to know how things will work on a computer program. The way of thinking through a computational way is different to the traditional way of using concepts. On the other hand, it influences the design process that it offers infinite opportunities around a core concept. For instance, if an architect built a computer program to solve one design problem, the algorithm that describes the program would assist to explore different outcomes through various modifications7. In addition, it helps designers or architects to present their ideas in the way that other related professions would understand. For example, the use of CAD programs to analysis the architect’s idea for the other engineers8.

Computerized design is influenced by the information age. Therefore, the use of computing

program is becoming essential in each part of the design process. Design is the element connected between the goals and solutions9. Generally, it could be understood as the problem solver.

The real world cases of architecture are always complicated due to geographical, structural, social and cultural factors. Computerization becomes very capable to resolve the complicated relationships via different approaches of generating and analyzing data. Throughout the computation, all the information would be stored and organized, and everything will become related and meaningful. Once as one solution is announced, it will have the potential to offer maximized opportunities as various outcomes. It is then benefits the solution synthesis decision which more form-driven conceptual design outcome can be achieved. As this is the intuitive process10 where all the creative ideas would be generated, computerization assists the highest creative potential that was traditionally limited by structure and construction difficulties. This type of computerized design is quite different from the idea of using computer as a drafting tool that the design concept is already existed in your mind11.

7.Keil, eds. ‘Algorithm’, pp.106.8. Yehuda E. Kalay, ‘Introduction’, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 12.9.Kalay, ‘Introduction’, pp. 13.10. Kalay, ‘Introduction’, pp. 11.11.Brady Peters, ‘Introduction’, Architecture Design: The Building of Algorithmic Thought, Mar/Apr, 2013, pp.10

FIG. 12

18

FOSTER+PARTNER KHAN SHATYR ENTERTAINMENT CENTRE

A.2 COMPUTATIONAL ARCHITECTURE

FIG. 13

19

A recent architecture project in Kazakhstan designed by Forster and Partners would represent the idea of computerization design that is particularly related to the use of algorithm. Different parametric is designed to form a dynamic roof structure that also releases the tension forces transferred down to the ground. This is a typical representation of form-finding algrithm12 that is formed part of the parametric model for the overall development and defining of the building form. In the Forster and Partners practice, computational designers work as part of the internal specialist who will be involved in any stages during the design process depending on the needs of the project. This indicates that the using of computational program for the design of the object is embedded with every step during the whole procedure. Designers nowadays are not only the people who can draw ideas from the computational system, but also becomes the people who is able to customize the data in the written programs and delaminating different outcomes via the changes of each written codes12.

Looking back to the architecture history, there is a connection between the modern ideas and the contemporary computerized approaches through architecture. One modernist’s idea which connects tightly into the nowadays design would be Le Corbusier’s ‘building as a living machine’. This theory argues the importance of a self-orientated object that will improve the quality of life. Computation of architecture allows solution for different requirements in daily lives via analysis of series amount of elements and needs under a wield range of disciplines. Hence, it is the performance of the building structures that architects nowadays consider the most. Through the customizing of particular environmental and social condition for the particular region in computing programs, performances can be justified by changing each design ingredient.

12. Brady Peters, ‘Introduction’, Architecture Design: The Building of Algorithmic Thought, Mar/Apr, 2013, pp.10

20

FORSTER+PARTNERS main chamber of the GREATER LONDON AUTHORITY HEADQUARTERS

A.2 COMPUTATIONAL ARCHITECTURE

FIG. 14

21

This performance-based simulations allows architect to take a step forward to the performance of the building rather than leaving the building being used ‘passive, after-the-fact’13. Occupants are benefited in this type of design as the computational technology provides more accurate information of the particular conditions, which enhance the property of the building itself at an early stage.

The design of the main chamber of the Greater London Authority Headquarters is a representative example in addressing the performative approaches via using advance technology. In considering the surrounding environment in relation to the later on energy performance, the design of the building is started with analyzing the exposure to direct sunlight at this site. The ‘blob’ like form is a result of decreasing 25% surface area, which would assist to reduce solar heat gain and heat loss through the building skin. It is suggested that there would be a higher deduction of solar heat gain comparing with a cube shape through out the year14. Although the dynamic form of the building is not welcomed through a traditional visual culture in London, the achievement in promoting a performance driven architecture is another ideology that should be considered under the architecture discourse.

FIG. 16

FIG. 15

13. Branko, Kolarevic. ‘Digital Morphogenesis’, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp.2614.Kolarevic. ‘Digital Morphogenesis’,pp.25

FORSTER+PARTNERS main chamber of the GREATER LONDON AUTHORITY HEADQUARTERS

22

PARAMETRICMODELLING

A.3.

23

Parametric modeling represents the change of using computerized design in architecture. It is not only a computation based new technology introduced in the design field, but it also provides entire new versions in both progressive stages and final outcomes for architecture design.

The idea of parametric modeling represents a union design idea15, which cover up various design-related disciplines. For example, when we use grasshopper to generate a Voronio 3D mesh on one surface, the property of the surface, no matter it is formed from single points or different curves, is connected to few other parameters, for instance, the division tab or the Voronio 3D mesh tab. Thus, the outcome of the design is a union that contains all different parameters.

It is a continuing and corresponded object in considering the outcome of the parametric modeling. For example, when you change the property of one single parameter, the other associated parameters require adjustment to finalize a new outcome. Additionally, all these parameters are hold by one major principle that would ensure the consistency in the overall progress.

Moreover, in the process of searching for explorations under the computerized system, designers are encouraged to learn as much as they can in the relationship between the computational

structure and the design structure16. Designers are taking advantages of studying new skills and languages in order to be more creative.

However, there are some potential disadvantages in dealing with parametric modeling. The first is the development of a complicated database. In reality, considerations of the surrounding social and urban environment require variety of investigations and analysis. In order to produce an optimal design outcome, maximum information would be input into the database. Although it is a very coherence program, any corresponded changes within the program will decrease the efficiency and will require sophisticated checks as soon as the new outcome is released.

As most of the program is from mathematic base like algorithm, the calculation process would reduce some humanism elements. The outcome of this can be treated like a machine rather than a coherent artistic design object. This is then becoming a barrier for designers who are willing to be creative for no restrictions. The aesthtic part of the parametric modelling is qiute limited and most people find this is very distracting.

Despite the negative side of this new technology, the efficiency and benefits provided by this innovative design idea will encourage more focuses and trend towards being parametricsm.

ITO TOYO TAICHUN METROPOLITAIN OPERA HOUSE

FIG. 17

15, Patrik Schumacher, “Parametricism”,16. , Robert, Woodbury. ‘Introduction’, Elements of Parametric Design (London: Routledge, 2010) pp. 7-9

24


An example that has a strong link to the parametric idea is the Taichung Metropolitan Opera House, designed by Toyo Ito. Toyo Ito believes that architecture has to follow the diversity of society, and has to reflect that a simple square or cube cannot contain that diversity. In order to consider the coherent use of the projects and the surrounding environment, the idea of the opera house is based on a continuous network via using curvy lines in both horizontal and vertical directions that will result different sectors to suite variety of purposes. The continuing curvy sponge-like shape is undertaken through a series

of parametric modeling, which the actual layers of the structure will be constructed largely through meshes of steel beams17.

The parametric modeling is considered under a series of grid system driven from both 2D plans and 3D spatial arrangements. The design was driven by the ‘emerging grid system’ 18, which is based on the functional layout through a 2D drafting analysis. It is then developed in to a 3D object through the use of parametric tools that allows the use of mesh parameter to create different curve surfaces. Although all the inner

A.3 PARAMETRIC MODELLING

FIG. 18

17. Design Boom, Toyo Ito: taichung metropolitan opera, Last Modified 23 March 2010, http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/18. Open Building, Taichung Metropolitan Opera House, Last Modified 2010, http://openbuildings.com/buildings/taichung-metropolitan-opera-house-profile-2039

25

spaces are allocated into different sponge-like cells, it does seem like connecting into the whole building environment.

The parametric modeling provides the opportunity for the emerging of each space in a less rational way that also aids on reduction of the traditional cubic feeling. Another crucial advantage of this design is the embedded fluent and continuing elements within the journey throughout the whole structure. According to the curvy shapes and the fluent connection among functional rooms, this design provides a more smooth experience

for users when they are actually walking around. Avoiding abrupt corners generates the engagement for both spatial and functional considerations in a ‘parametric sense’ that everything is controlled by the grid system and all activities can communicate with each other19.

FIG. 20

FIG. 19

19. Schumacher, “Parametricism”


26

ZAHA HADID ROCA LONDON GALLERY

The continuing and endless curves from both horizontal and vertical layers are leading towards several mystery points. Due to the use of the smooth and continuing curves, all functional spaces within the buildinag are all jointed together by layers of the horizontal structures. There is no stop for one particular point within the room, all the walls, and ceilings even the doorways and windows are formed freely, which is like invitation for further exploring.

If the idea of using cubic objects in design is

A.3 PARAMETRIC MODELLING

FIG. 21

The idea of ‘smooth’20 is visually maximized in Zaha’s design of the Roca London Gallery. The original idea was inspired by ‘water’. As water contains optimal adaptability towards the changes and innovations, it is then selected as a core concept for this gallery design.

On the one hand, the idea of smooth manipulates the ‘water-shaped’ pattern in order to generate the journey within the art gallery. On the other hand, this smooth concept also brings a completely new vision for the interior spaces.

20. Schumacher, “Parametricism”

27

considered as isolation, this parametric idea is then becomes a creation of connection. If there were no any parametric modeling tool, this design would like an impossible mission to form.

However, the idea of Zaha’s soft environment cannot be expressed strongly through the 2D floor plan. Because the overall range of different spaces is still a very square shape. It is unlike Toyo’s design that is formed originally from several floor plans’ arrangements. The soft and curvy environment is more pronounced in both

FIG. 22

2D and 3D outcomes from Toyo’s Opera House, comparing with Zaha’s Roca London Gallery. The main difference between Zaha’s parametric design and Toyo’s is from the beginning of the concepts. The inspiration of water is already a 3D vision. However, Toyo used parametric modeling as a tool to form the finalized 3D outcome.

ZAHA HADID ROCA LONDON GALLERY

28

ALGORITHMICEXPLORATIONS

A.4.

29

TUBE TO MESH

MESH TO QUAD TOFACEBOUNDARY

Explorations of generating different mesh geometries in both 2D and 3D ways are the most interesting parts that have been discovered during the algorithmic workflows within Grasshopper. In addition, the idea of the logic connection for different components in order to create the final outcome is also a crucial focus during the practices.

At the beginning of investigating mesh geometry in Grasshopper, experiment the mesh geometry for cubic shapes was not very challenge. The weld mesh tab helps to connect each mesh points tightly thus less gaps or overlaps would be generate after the new shape is created.

Difficulties occurred when starting to use a circular shape to create mesh. As the surface is already in a very smooth condition, any adjustments for new mesh tab, especially mesh smooth tab, cannot be undertaken due to the circular surface. By searching on the Internet and looking through different properties of each parameter and tool bars in Grasshopper, changes in order to form new mesh geometry can be taken in a reverse way. That is using bars such as QUADRANGULATE to triangulate the surface or using tool bars like FACE BOUNDARY to decompose the wired structure of the original circular shape. Furthermore, as a result of using face boundary tool to divide the geometry into new QUADRANGULATED elements, other mesh tools such as VORONOI 3D can be applied for constructing a new mesh. The reason why that to include this experience in this section is because it emphasizes the processes of refining an optimal options for achieving the final outcom. Although some advocates believe that technology would become

CUBE TO MESH

30

A.4 ALGORITHMIC EXPLORATIONS

MESH TO QUAD TOFACEBOUNDARY TO VORONOI 3D

MESH TO QUAD TOFACEBOUNDARY TO LOFT

31

MESH TO QUAD TOFACEBOUNDARY TO VORONOI 3D

MESH TO QUAD TOFACEBOUNDARY TO LOFT

a barrier for being creative in design, it is not certainly the truth when solutions could be found through the in-depth studying of the particular parametric modeling tool. The challenges encourage you to learn more knowledge about this computational language. The more you understand, the more creative and flexible you would apply in the further experiment. Especially when you are trying to explore a new outcome, it would be necessary if you fully understand what kind of properties the current output contains. If there is a variation with the outcome you have and the new effect you are willing to add on, you must take another considerations of transform the language in between. For example, the case on the left hand side shows a disconnection between a FACE BOUNDARY outputs with the LOFT input. In this case, as the outcome of a face boundary is a list of different points, whereas, loft requires a list of curves to connect with. Thus a connection n between which can divide the curves into POINT LISTS is required, or searching for other points output such as VORONIO 3D is required.

This Grasshopper feature also emphasizes the importance of creating language to form a unique, continuing and corresponded program for any future additions or corrections that is mentioned in the parametric. Connections occurred in each notions demonstrate the continuality and the union of the program itself, although they are contained by different codes.

Overall, different practices in Rhino and Grasshopper suggest that algorithmic explorations and thinking is the process of understand the results of the generating code, knowing how to modify the code to explore new ideas and applying for any future potentials.

32

CONCLUSIONA.5.

33

elements that will reflect the background of the surrounding environment and further technologic exploration on tracing the inspiration. However, the original organic pattern will be refined in order to suit the performance circumstances. It will be an innovative design because of the idea of being logic during design as the technology closes the gaps between pure design and understanding of the practical conditions. It will certainly be a rational design as each parameter is connected of a certain language that is the mathematical base developed in certain modeling tool.

This use of innovative technology will be beneficial for both developers and the occupants. As it is very cost efficiency for just use computational tools, large volumes of ideas can be explored at different design in considering with different approaches at each stage. Moreover, the accuracy of each design stage will be ensuring until the final project would be constructed. Different performance conditions have been tested during the design processes; the enjoyment and efficiency of use for occupants are maximized.

The previous sections have shown the interest of using computational technology to create an innovative design, especially the interest of using parametrical modeling tool such as Rhino and Grasshopper. The advance of technology allows computation becomes one of the essential parts within the architecture discourse. The combination of design and mathematic provides opportunities for creating hi-tech projects that also reflect the contemporary world-wide social and culture factors.

This design will use parametric modeling as the major tool in order to create continuing, unique and soft design. In addition, the idea of being a performative approach will be undertaken in contrasting with the use of computerized system to analysis the surrounding conditions. Furthermore, providing localized urban experience will be reflected through the spatial allocation and choosing of material. In contrasting of parametricism in this project, interests of a combination of biomimicry and patterning elements will be explored future on. This core thesis contains the search of inspirations from organic

ARANDA LASCH, THE MORNING LINEFIG. 23

34

LEARNING OUTCOMES

A.6.

35

With the help of readings like Kaylay and Woodbury, more in-depth understanding about the mathematical perspectives of the new technology are understood. Although these theories are quite abstract when they are demonstrated in the literal way, each week’s exercises of different parameters in rhino and grasshopper allow me to explore these languages in a practical way. Especially, the logic of using different tool bars for different purposes is emphasized with each step for the final outcomes.

From the previous progresses of understanding the discourse of computational technology of architecture, I learnt that computation is not about to develop the aesthetic side of a design, more importantly, the structure and the performance of the building are also evaluated through this new technology. Although the idea of parametricism is evident in the innovative forms of buildings,

the considerations for the performance of the building and for the occupations are also linked as part of the innovation. Previously, lots of crazy shapes created from parametricism idea were considered as less rational in an architectural design. However, after the exploring of different perspectives in this idea, every part of these crazy ideas is rational because each of them has one mathematical links behind.

The previous virtual environment design of a body lantern was created through Rhino. However, the paneling tool used for the reshaping of the curvy surface was lack of logic and control. Applying different control parameters in grasshopper to connect with the previous rhino model will improve the feasibility to adjust single points or elements. In addition, different curve lists or points lists analyzed in grasshopper would help to understand the model in much more details.

ARANDA LASCH, THE MORNING LINEFIG. 24

36

1.Richard,Williams. ‘Architecture andVisual Culture’, Exploring Visual Culture: Definitions, Concepts, Contexts. Edinburgh: Edinburgh University Press. 2005. pp. 103-115

2. Robert A. and Frank C. Keil, eds, Definition of “Algorithm” in Wilson. The MIT Encyclopedia of the Cognitive Sciences. London: MIT Press. 1999. pp. 11

3.“Digital Morphogenesis”, Patrik Schumacher, “Parametricism”, NZ Architecture, Last modified 23 September 2010, http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/

4. Yehuda E. Kalay, ‘Introduction’, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 11-13.

5. Brady Peters, ‘Introduction’, Architecture Design: The Building of Algorithmic Thought, Mar/Apr, 2013, pp.10

6. Branko, Kolarevic. ‘Digital Morphogenesis’, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp.25-26

7. Design Boom, Toyo Ito: taichung metropolitan opera, Last Modified 23 March 2010, http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/

8. Open Building, Taichung Metropolitan Opera House, Last Modified 2010, http://openbuildings.com/buildings/taichung-metropolitan-opera-house-profile-2039

9. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-9

REFERENCE

37

Fig. 01 Mies Van der Rohe, New National Gallery in Berlin. http://www.allartnews.com/wp-content/uploads/2010/08/Bacardi-is-honored-to-partner-with-Neue-Nationalgalerie-to-pay-homage-to-Ludwig-Mies-van-der-Rohe.jpg

Fig. 02 Zaha Hadid, Galaxy Soho Beijing, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db123ce22f6e2569fb36764f8_galaxy_soho_zha_1210_6462.jpg

Fig. 03 Zaha Hadid, Galaxy Soho Beijing. http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db123ce22f6e2569fb36764f8_galaxy_soho_zha_1210_5935.jpg

Fig. 04 Zaha Hadid, Galaxy Soho, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db123ce22f6e2569fb36764f8_galaxy_soho_zha_1210_6481.jpg

Fig. 05 Zaha Hadid, Galaxy Soho, Beijing. file:///Volumes/SUNNY/STUDIO%20AIR/WEEK%202/JOURNAL/Galaxy%20Soho%20N7.jpg

Fig. 06 Zaha Hadid, Galaxy Soho, Beijing. http://www.architizer.com/blog/wp-content/uploads/2012/10/508ee07b28ba0d7fe100000e_galaxy-soho-zaha-hadid-architects_galaxy_soho_zha_12-10_5241-1.jpeg

Fig. 07 Zaha Hadid, Galaxy Soho, Beijing, http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2012/11/Galaxy-Soho-Zaha-Hadid-12.jpg

Fig. 08 Wang Shu, Ningbo Historical Museum, http://0.tqn.com/d/architecture/1/0/_/2/1/wang-shu-ningbo-history-museum-02.jpg

Fig. 09 Wang Shu, Ningbo Historical Museum, http://c1038.r38.cf3.rackcdn.com/group1/building5754/media/media_5.jpg

Fig. 10Wang Shu, Ningbo Historical Museum, http://www.pritzkerprize.com/sites/default/files/gallery_images/wang-shu-ningbo-history-museum-07.jpg

Fig. 11Wang Shu, Ningbo Historical Museum, http://raxacollective.files.wordpress.com/2012/12/wang-shu-ningbo-history-museum-01.jpeg

Fig. 12 Computational Technology, http://www.theverymany.net/uploaded_images/070718 _test005_PShop-732983.jpg

Fig. 13 Foster+Partner, Khan Shatyr Entertainment Center, http://www.fosterandpartners.com/data/projects/1438/img5.jpg

Fig. 14 Forster+Partner, main Chamber of the Greater London Authority Headquarters. http://www.fosterandpartners.com/data/projects/1027/ img0.jpg

Fig. 15 Forster+Partner, main Chamber of the Greater London Authority Headquarters. http://www.fosterandpartners.com/data/projects/1027/img4.jpg

Fig. 16 Forster+Partner, main Chamber of the Greater London Authority Headquarters.http://www.fosterandpartners.com/data/projects/1027/img5.jpg

Fig. 17 Ito Toyo, Taichung Metropolitan Opera House. http://c1038.r38.cf3.rackcdn.com/group1/building2039/media/DSC_7324%2B.jpg

Fig. 18 Ito Toyo, Taichung Metropolitan Opera House. http://c1038.r38.cf3.rackcdn.com/group1/building2039/media/2005_1213_220434AC.jpg

Fig. 19 Ito Toyo, Taichung Metropolitan Opera House. http://www.designboom.com/cms/images/erica/--toyo/toyo20.jpg

Fig. 20 Ito Toyo, Taichung Metropolitan Opera House. http://www.designboom.com/cms/images/erica/--toyo/toyo20.jpg

Fig. 21 Zaha Hadid, Roca London Gallery. http://www.rocalondongallery.com/imgs_front/pods_img01.png

Fig. 22 Zaha Hadid, Roca London Gallery. http://ad009cdnb.archdaily.net/wp-content/uploads/2011/10/1319491820-mg-5148-1000x666.jpg

Fig. 23 Aranda Lasch - The Morning Line. http://farm4.staticflickr.com/3618/3480659883_c2ea25a5fa_z.jpg

Fig. 24 Aranda Lasch - The Morning Line. http://farm7.staticflickr.com/6038/5905355753_88c38b8c64_o.jpg

Cover page: Renze Ali, Emergement. http://www.syedrezaali.com/blog/wp-content/uploads/2010/02/EMERGENT_Reza_Ali_11.png

38

DESIGN FOCUSB.1.

39

BIOMIMICRY AND PATTERNING

With the advance of technology, biomimicry becomes an innovative discipline in architecture discourse. It aims to studies nature’s best ideas and then imitates these design and process to solve human problems. Under this discipline, it treats nature as a model, thus forms from natural elements, the process and systems driven from the nature would all be emulated through a design process. In addition, nature is also as a mentor23 in the process of biomimetic design. There are numbers of practical examples about structure principles existed in nature; these are the evaluated examples that would help us to develop in the design process. In relation to the Gateway design process, this will form the core argument in relation to the form design as well as the performance evaluations.

Patterning is a tool that perforate and transform particular elements in a repetitive or predictable

manner. This is wide used in parametric design, as the digitalized technology would allow more precise trace of more fluent and soft outcome.

The combination of the two streams would be applied further in the Gateway design. The idea of biomimicry would emphasis on the core ideas of forming a particular design for the local community in order to achieve a qualitative outcome as well as enhances the performance criteria after its installation.

The spanish exhibition pavilion in Japen is an example which represents the idea of biomimicry and patterning. The use of parametric modeling allowes the designer trace the organic pattern (“honey cone’) and distribute in a set order on the cubic surface. It is a combination of using biomimicry and patterning via parametric tools.

40

CASE STUDY 1.0B.2.

41

Skylar Tibbits - VoltaDom

42

1. change of points distribution from 10 to 20 to 35

2. Add on Populate 3D Change of Domin Size from 0 to 0.3 to 0.8

4. Change of order of spliting Adding on Voronio 3D

3. Change the trimed cone to cylinderJoin the cylinder with the cone

5. Change the base cone by putting on voronio 3D mesh and trim. Size from 5 to 20 to 50

43

44

CASE STUDY 2.0B.2.

45

46

47

48

B.3 MATRIX PART TWO

49

50

51

Date post:	16-Mar-2016
Category:	Documents
Upload:	shiqi-tang
View:	229 times
Download:	3 times

matrix part 2

Documents