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Aedas Beijing Methods In Practice


AedasBeijing Methods In Practice

November 2011 Issue 1


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Methods In Practice Aedas Beijing has the ability to produce high quality innovative design. We have many tools available to us. Meth         series of publications to uncover some of the depths of the designs we create. Design is an ever changing practice.            a result of the process and practices that then become a realized product. Methods in Practice of Aedas Beijing has documented some of the designs that have been delievered through this   Striving to achieve a quality in design but also trying to push the limits of what  

   logical means to achieve this.

ßƒä–’âŚƒâ§—ŕŁŤŇ€ŕĄ˛Ý€á…¸Ď”âłˆă&#x;ˆŕĄŻŃ˘ßŻä—´áł” ŕ Ąŕ¤żâą˜á“Žă„ĽăŠ’ŕŞ•Ëˆŕ˛´â„¸á&#x;ĽÓ€ĎĄá˘ŹâŠšŃ˘áś¤ ➥âĄ?á…Žâą˜áŽšâ€ŤÝ‹â€ŹĎ˘á &#x;↉DŽljᅲä?‰áŽ?⊊NJ℡ á°ƒä–­á¸‹Ď”á´€â?…á‘şŇ&#x;ă’Ąá&#x;ĽÓ€ŕ˝–ÔŠă •â¸ˆÓ´ă’ł âą˜áłłßžÇ„ ä†’ä…ľá°ƒĎ”äŽźĎ˘áŻŠâ€Ť×…â€Źä–Żâą˜á…˛ä?‰á—ťá„şâžĽÇ„á…— Ý‡âŠźâą˜á‘Šä´˛Ň™ä°¤Ń˘ă’§áľ°Ëˆŕ§ áŻŠŕłźÝŠâŤłŃť âą˜ä–›âż&#x;Đ Ç„á&#x;ĽÓ€á‡šä–­ŃŻä–›âż&#x;á˜?ă’§Çƒă“Şä•Ľ Ѣljᅲä?‰áŽ?⊊NJĐ&#x;Đ ËˆŇšÖ—ä–Żŕ¨ŹáŽšÖľá™ƒ âą˜Ń¸âŒ•Ç„ ljᅲä?‰áŽ?⊊NJ䆄ᔊњá&#x;ĽÓ€ŕ˝–ÔŠă •â¸ˆŕĽłáł? á“Žă„Ľá¸˘ášŁËˆáłˆä†„á”ŠŃšá&#x;ĽÓ€á‡?Ѣᎄá &#x;↉ǃ áŽ„áĄ”á´ƒâą˜á“”áŹ’á—ťÇ„ âł‚ŕ ĄáŽšÔ°Đ Ëˆá&#x;ĽÓ€á?†ă’Łäž›âŤźŃšŕťŽâžĄ ĎĄŕ§ âą˜ä•ƒÓŠä•™ŕĄ˝ä†’ä…ľËˆÝŠĐ ŕŁ™áŁ€áł? 5KLQRǃ*UDVVKRSSHUǃ5HYLWǃ0D\Dă„?ˈ ᑊϨá&#x;ĽÓ€ŇĄŕłźĎĄŕ§ âą˜äš?âł‚Đ áĽźă¸ áłˆŕťŽáŽ„ ᎚‍݋‏DŽ

We have utilized many different tools         á&#x;ĽÓ€âłŒÖľäž›âŤźáŽ„䆒䅾á &#x;â†‰ŕŠ ä†’ä…ľáŽ?âŠŠâą˜ ă’§ŕ§œËˆá–™á‡šŃťâŤłŇ¸ŇŽă˜‡âł‚Ď”áŽ„âą˜á“Žă„Ľŕź› Maya and learned to use them in ways ä—?Ę˝ to produce tangible results. Combining new software with new methods we hope to produce uncommon results.

Aedas Beijing Methods In Practice


Chengdu Mandarin Oriental ៤䛑᭛ढϰᮍ䜦ᑫ ϰᮍ䜦ᑫ Chendgu, China Ё೑ ៤䛑 Advanced Modelling Te T chniques

Working with Re Revit workflo

vit Փ⫼5HYLW

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anga Taipe ng O i, Taiw ffice an ৄ Work Tow ࣫Ꮦ ing b er ৄ etwe ࣫फ en G rass ␃ࡲ hopp ݀ὐ er, R hino and Revit 5KLQ Rǃ* UDVV K

November 2011 Issue 1

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Chengdu Mandarin Oriental

៤䛑᭛ढϰᮍ䜦ᑫ

5

Aedas Beijing Methods In Practice


Đ ŕł‘á&#x;¤ä›‘ ĺ‚Źă‘ťá“ŽáżľáĄ”á´ƒ

1

Chengdu, China Chengdu Mandarin Oriental Hotel is loAdvanced Modeling Techniques cated on a gorgeous site next to Jingji-

ang riverbank. The program consists of          plexes. The priority is to mitigate the intricate relationship between a large scale structure with its natural surroundings. The chosen design concept is derived from a harmonious image: a running stream that navigates through a mountain valley. The residential com    !  "  



 !

 # "           çade is arranged vertically to symbolize mountain’s uncompromising grandeur. This project consists of four parts                   art center spanning over the Jinjiang River. (This edition only focus on the towers but not the art center on river.) The complexity of this project resulted in the use of various programs such

   $ %$&  Revit. Different design tasks often required different programs which were then coordinated in a single Revit ' 

  "          a design document it also shows how we can control the complex geometry precisely and accurately. á&#x;¤ä›‘Ď°áŽ?á­›ŕ¤˘äœŚá‘Ťŕ´¤ă¨‘ŕłźäŤşâˆłâŠ‡âŹ¨ËˆŕŁ™ ŕ§żäœŚá‘ŤÇƒÔŁá…™ÇƒÝ€á†§ă„?ŕťŽâžĄŕĄłă›‘Ç„ä†’ä…ľ âą˜ä˝Şă˝•ăžˇâ€ŤŢ‡â€ŹäŻ‚äšŹá°ƒÝŠá‘˛ŕťťâą˜Ô§äžŁĎ˘ŕ¨źä–? ăžžâœŠâŚƒŕš—Đ&#x;äŻˆâą˜Ý‡ă‹?DŽᓎㄼᔜԧᴚ⑤Ѣ Ď”ŕĄƒŕŠ ä‡¤âą˜á‰…âˆˆŕł’ËˆÝ€á†§ŕ¸¨á˝?âą˜âŒ•ă’“ŕľ&#x; ä—´ŕľ&#x;Ňˇă¸źŃšâ‘žâŒ•âą˜âŠśâŒžËˆă— ÔŁá…™ÇƒäœŚá‘Ť ศá˝?ß­äž›âŤźâš€áłŤâą˜ă’“á´ľă¸źä–’ä˛žá‰…âą˜Ół ኌDŽ ᴀḜâ??ŕŚžŕ „ŕ˛ŻâžĄĎĄŕ§ ŕĄłă›‘âą˜Ô§äžŁËˆĎ¸ áˇ&#x;ศá˝?Çƒă˜¨ă‹?á…—Ó€âą˜ă•¸á “äšźßšÇƒŇšŕŚž äŤşâˆłĎžâą˜ăĄŽá´ƒĐ á–—Ç„Ë„á´€ă†›á‡šĐ?㽕䅟 䆎݊РࠥĎ?䚟ߚDŽ˅⏅Ѣäš?âł‚âą˜ŕťĄ á´–á—ťËˆá&#x;ĽÓ€ŕ¤Łä‡—Ő“âŤźŃšŕťŽâžĄä•ƒÓŠăžˇ â€ŤŢ‡â€ŹĎĄŕ§ áˆ–ä´śâą˜äŻ‚äšŹËˆä–­ÝŠĐ ŕŁ™áŁ€Ńš &$'ǃ5KLQRǃ*UDVVKRSSHUҹা5(9,7Ç„ á&#x;ĽÓ€á‡šŕłźâ„¸ă…”㽕ഄŇ&#x;㒥݊䆒䅾áŽ?⊊ˈᑊ Ď¨áˆŠâźŽá‡?Ń˘ŕťĄá´–á”śÔ§â€Ťŕ§ƒâą˜ŕ ŠáĽťâš‚Ţšâ€Źă›‘ ᗝDŽ November 2011 Issue 1

Chengdu Mandarin Oriental

6


Massing Study '

       during the early stages of a massing study we use of a wide range of          *   %$&+/   Rhino models. With these tools we can narrow down many options into one and then carefully study and develop further.

7

Aedas Beijing Methods In Practice


Images depict a series of massing studies.

November 2011 Issue 1

Chengdu Mandarin Oriental

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9

Aedas Beijing Methods In Practice


Facade Design Tower A

November 2011 Issue 1

Chengdu Mandarin Oriental

10


Facade Design Tower A

Every curve line is constructed by two straight lines and a two degree curve in the middle. These curves have 8               

   aries are straight. +   #      

     

  is necessary to convert curves into arcs

   '    script we wrote can convert one curve          

    

   solution with the most similarity. (The largest distance between the original curve and new arc is with 50mm.) The                  them in different software.

11

Aedas Beijing Methods In Practice


1

276M

1

1

1

Straight lines 3"

   (hotel lobby) 2

244M

2

2

3

212M

3

3

4

194M

4

4

2

3

4

Two degree curves & curve surfaces (hotel)

5

128M

6

110M

5

5

6

6

5

6

Straight lines

"

  es (residential)

7

55M

7

7

8

0M

8

8

7

8

Curve

Control Points

Control Points

Circle through point

Input Length Control Points

Center

Control Points Control Points Control Points

Intersection

Center

Line Arc

Arc Line Intersection

Line perpendicular to gray dashed line

Arc Line

November 2011 Issue 1

Chengdu Mandarin Oriental

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Inputs of control points’ height

Parameters: =>?>@@FK 13

Start & end point of each group of curves

Parameters: =Q>>@>UK

Rebuild curves

Parameters: =>>>@>@K Aedas Beijing Methods In Practice

New massing

Parameters: =UU>@>UVK


Z      

         parameters. All the inputs are the start

        curvature is controlled by these parameters. This parametric model leads to

        

   /       compare different outputs. Flat surfaces Flat surfaces

Curve surfaces Curve surfaces

Flat surfaces

Parameters: =UU>F>>K

Parameters: =?@?Y>>K

Flat surfaces

Parameters: =>U?@>YK November 2011 Issue 1

Parameters: =@@@@@@K Chengdu Mandarin Oriental

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The glass wall’s pattern imitates a snow mountain. The opacity changes into a more white and opaque surface at the top. This script on the one hand can generate a random-mixed-fade  

                "

 with small gaps.

15

Aedas Beijing Methods In Practice


November 2011 Issue 1

Chengdu Mandarin Oriental

16


Height information is transferred from Excel to grasshopper. A simple script  

"    mullions. It contains multiple inputs which can easily change the design by changing those numbers.

Excel section

Excel height    

17

Aedas Beijing Methods In Practice


November 2011 Issue 1

Chengdu Mandarin Oriental

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19

Aedas Beijing Methods In Practice


November 2011 Issue 1

Chengdu Mandarin Oriental

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21

Aedas Beijing Methods In Practice


Facade Design Tower B The apartment elevation also uses parametric tools to assist our design. In order to gain a continued effect of 

       ally change into transparent railings. The script we used can rebuild three          which allows us control the height and proportion of the railings.

November 2011 Issue 1

Chengdu Mandarin Oriental

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Facade Design Canopy

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Aedas Beijing Methods In Practice


November 2011 Issue 1

Chengdu Mandarin Oriental

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Structure

Fan shape

    

25

Aedas Beijing Methods In Practice


The garden canopy uses a diamond    

 \]  This grid also has multiple components      ^  shading elements and structure. We      !        !  structures by changing some of the input. This method reduces large amount of repeating labor work in design.

November 2011 Issue 1

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27

Aedas Beijing Methods In Practice


November 2011 Issue 1

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29

Aedas Beijing Methods In Practice


Փ⍟5HYLW

Working With Revit

5HYLW᎚԰⌕âż&#x; ⥔⠯Ϣ5HYLWă˜¨ŕĄźáŽšÔ°áŽ?⊊ Chengdu, China Mandarin Oriental in Revit

November 2011 Issue 1

2

Revit proved to be a vital software tool for the delivery of this project. The level of design resolution we have achieved    _     without it. It’s use has facilated a far greater level of interaction between ourseleves and the client. Revit has allowed us to work in large teams and push forward with 2-D and 3-D work while staying coordinated.

5HYLWâą˜Ő“âŤźá‡?Ń˘á´€á¸œä?‹Ńšä´˛á?ŒÝ‡äŹ‚âą˜Ô° ⍟DŽᅗ㒭ᓎㄼá?œŕŠ ĎŽĐ?Đ&#x;äŻˆâą˜â‰łä—ŽáŚ¤ŐŻ ŃšĎ”Ďžă’ąŐ‡âą˜á‘‡ŕ§„Ëˆä–­Ő“ŕł’ă’Œâą˜â€Ťâš‚Ţšâ€ŹÇƒ ᯧä‡?á—ťä–°ä–°ăš°Ń˘Ó´ă’łâą˜ă’Źŕł’áŽ?á“ŁÇ„

Working with Revit

30


 Key stages Many of the different stages of the `Z /   # /" {  special methods to be developed in house. We had to develop different methods of working within different pieces of software. Revit’s current capabilities do not allow us to reach the levels of design we wish to achieve. We turned to numerous other programs in order to create our design and used Revit to then document the process.

   



Information was transferred between programs using custom methods that we developed. Information was transferred between the design team in ways which had not been done before.

31

Aedas Beijing Methods In Practice

Custom method for importing mass into Revit developed


Floors and other elements regenerated each time the mass was imported

Standard orthographic views of the design are quickly produced and distributed

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BALCONY C 䰇ৄ 36 m² Ꮉ᭭⌟䞣Ꮬ

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A4 A6a

November 2011 Issue 1

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142.8 139.2 135.6 132.0 128.4 124.8 121.2 117.6 114.0 110.4 106.8 103.2 99.6 96.0 92.4 88.8 85.2 81.6 78.0 74.4 70.8 67.2 63.6 60.0 56.4 52.8 49.2 45.6 42.0 38.4 34.8 21.2 27.6 FL= 24.0

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Working with Revit

32


Simulataneous Development and Coordination

Development of the three dimensional form was carried out in Rhino by separate design team members. A design team was able to modify elements in 3D while another team was coordinating 2D drawings. + 

      see the progress and make adjustments.

3D Design development

2D Design development Internal wall and planning elements can be adjusted at the correct level          "  element to be contained in Revit. This meant the 2D elements of the design where able to progress quicker and with

Standard orthographic sections and elevations produced in revit that would have been impossible to produce or maintain throughout the many design iterations without the use of Revit.

33

Aedas Beijing Methods In Practice


       overall form.

Plan produced in Revit issued to the client and then returned with comments.

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FLAT D 372 m²

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䈕ս㖞䴰㾱䇮а䚃ᡯ 䰤䳄້ˈ᡽ਟ㜭໎བྷ 䰤 ᛜ᥁ằ儈ᓖᶕᇎ⧠P ᛜ Ⲵᛜ᥁

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7 m²

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᷅ᄤሎᇌ๲໻ৢ 䚼ߚߎ㑶㒓ˈ ᳝ ᕙ㒧ᵘϧϮᦤߎ ᛣ㾕

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ྲ᷌‫؍‬ᤱк䜘䞂ᓇḡ 䐍 P ˈ 䈕 ս 㖞 ằ Ⲵ 䐘 ᓖ ቡ ᴹ P Ҷ ˈ ằ 儈ਟ㜭нཏ

Department Legend 11100

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FLAT A 314 m²

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20110726 䖛⿟೒㒌াկখ㗗 PROGRESS DRAWINGS FOR REFERENCE ONLY

November 2011 Issue 1

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4000 ℸ೒࣓ҹ↨՟䞣ᑺ ℸ೒᠔⼎ሎᇌ㽕೼Ꮉഄ䞣ᑺЎ‫ޚ‬ ℸ೒ЗሲᴀᓎㄥᏜџࡵ᠔ᢹ᳝᳾㒣ᡍ‫ޚ‬ϡ㛑ⲫ⫼

Working with Revit

34


Conclusion

35

Aedas Beijing Methods In Practice


Using Revit on this project allowed us to describe far more of our design intention and in shorter time. The product         than one delivered using traditional methods. $         expession is the result. Coordination issues can be seen ahead of time and adjusted for.

Full Coordination

November 2011 Issue 1

Working with Revit

36


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Aedas Beijing Methods In Practice


㢣á&#x2026;&#x2022;á&#x2018;&#x201C;ŕ´&#x17D; ä&#x17E;&#x203A;â&#x20AC;ŤÜ?â&#x20AC;Źá&#x2C6;&#x;äš&#x160;

Suning Plaza Skylight y

3

Suning Plaza is located in the central business district of Xuzhou. The entire  _    @  Y   Q>    @^ 100 meter tall residential complexes.

Đ ŕł&#x2018;á&#x2022;¤á&#x17D;˛ ă¤?ăłśä&#x2022;&#x2122;ॽŕŚ&#x2013;á­&#x201E;࣪ä&#x2020;&#x2019;ä&#x2026;ľ

The Skylight is located at the top of the podium structure and central to the towers. The skylight spans over a large atrium space and has a large opening offset from the center.

Xuzhou, China á&#x2022;¤á&#x17D;˛ă˘Łá&#x2026;&#x2022;á&#x2018;&#x201C;ŕ´&#x17D;ŕ´¤ă¨&#x2018;Ѣá&#x2022;¤á&#x17D;˛á?&#x2013;Đ á&#x2013;&#x2014;ŕŹ&#x161;ॾ Skylight Structure Concept ŕ¤&#x17D;Ç&#x201E;á&#x2026;&#x2014;ŕŁ&#x2122;৿áł?ŕ´&#x201E;Ď&#x;Ď?á&#x2C6;&#x2013;Ç&#x192;ă&#x2022;¸á &#x201C;Ѩá&#x2C6;&#x2013;Ç&#x192;Ď? á&#x2018;ťâą&#x2019;ă&#x2030;&#x2021;ä?&#x2122;ĺ&#x201A;Źá&#x2C6;&#x2013;ÔŁá&#x2026;&#x2122;Ç&#x192;ŇšŕŚ&#x17E;Ď&#x201D;áˇ&#x;Ý ŕ¤&#x2022;Ń á&#x2C6;&#x2013; âą&#x2DC;ä&#x153;Śá&#x2018;ŤÇ&#x201E;á´&#x20AC;á¸&#x153;Đ âą&#x2DC;ă&#x2022;¸á &#x201C;Đ á&#x2013;&#x2014;ä&#x2020;&#x2019;ä&#x2026;ľáł?ă˝&#x161;Ⲫ ೟Рá&#x2019; Ď&#x17E;âą&#x2DC;ŕ¤&#x17E;áź â§&#x2014;á&#x201D;śâŚ?âŠ&#x2014;á&#x2C6;&#x;ä´śË&#x2C6;á&#x2018;&#x160;ϨÝ&#x160; Ď&#x17E;Ď&#x201D;Őťä&#x2020;&#x2019;áł?â&#x20AC;ŤŘŁâ&#x20AC;Źá&#x2013;&#x2014;âą&#x2DC;áź ŕł&#x161;â&#x2039;˛ŕŚˇÇ&#x201E;

November 2011 Issue 1

Suning Plaza Skylight

38


Structural Considerations

Image shows the design of the proposed skylight.

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Aedas Beijing Methods In Practice


We worked with Buro Happold Engineers to develop the domed skylight even more. The dome is comprised of an ellipse

 

    

   but because the top ellipse is offset it makes the structure less stable. The hand sketches provided by Buro Happold show that because of the      wind. The amount of bending force becomes different on both sides of the domeâ&#x20AC;&#x2122;s center point. With this information we were able

                   !   dome to work with the engineering  



Hand sketches provided by Buro Happold.

Image shows individual member stresses and areas where special consideration needs to be taken. Provided by Buro Happold. November 2011 Issue 1

Suning Plaza Skylight

40


1 Since the project started with

          was to take the initial plans and create them parametrically.

A

The architectural plans could not be changed as most of the podium of the    

     the remaining of the building was being drawn.

2 1

D

Two ellipses were drawn in plan according to the drawings with the ability to change the location of the smaller ellipse to match structural feedback.

C

1

2

3

Grasshopper Implementation 3 The plan was then swept with the section in order to create a basic geometry of the dome. All variables are individually controlled so that we could coordinate with the engineering team.

41

Aedas Beijing Methods In Practice


2 The section of the dome was the most      /  '   

  the shape of the dome. Those arcs needed to be controlled separately in order to work with the engineer. The           load could be carried.

B

A R

1

+

R D

4

2

+

C

5

6

7

B

A

2

D

1

C

November 2011 Issue 1

Suning Plaza Skylight

42


4

5

Grasshopper Implementation

B

A

D

C

A

D C

43

Aedas Beijing Methods In Practice


6

4 Horizontal Slices were added to the 

        Then each ring was divided into a maximum size of 2.8 meters.

5

Each node is connected from top to bottom to create a path for structural members. 6

The pattern of the connections is then adjusted to create something more interesting. A double spiral was used to triangulate the surface.

B

A

D

C

7 Â&#x20AC;        lines and patterns that were designed. Member sizes and distances can be adjusted in order to coordinate with the structural engineer November 2011 Issue 1

Suning Plaza Skylight

44


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Aedas Beijing Methods In Practice


ŕ§&#x201E;࣍ऍâ?&#x192; ॲÝ&#x20AC;á˝?

TAIPEI NANGANG OFFICE

4

Taipei, Taiwan Schematic Design ŕ§&#x201E;࣍á?&#x2013; âĄ&#x201D;â ŻÇ&#x192;ă¤?ăłśÇ&#x192;5HYLWă&#x2DC;¨ŕĄźä&#x2020;&#x2019;ä&#x2026;ľá&#x17D;šÔ°áŽ?â&#x160;Š

November 2011 Issue 1

'  Â  Â&#x201A; '   UÂ&#x192; story building which aims to operate as an â&#x20AC;&#x153;Incubator of Ideasâ&#x20AC;?. '     _          propose a unique aesthetic design which has been developed using parametric tools and offers a seamless delivery of building information.

ŕ§&#x201E;࣍ऍâ?&#x192;ॲÝ&#x20AC;á˝?á°&#x192;Ď&#x201D;á&#x2018;ťŕ¤&#x2022;Üżá&#x2C6;&#x2013;âą&#x2DC;Ä&#x20AC;Ó&#x2022;ĎŽ á&#x2026;&#x2030;ŕŁŞŕ°źÄ Ç&#x201E;Ý&#x160;ä&#x2020;&#x2019;ä&#x2026;ľâ&#x2122;&#x2030;á&#x203A;łá´šă&#x17E;žĎ&#x201D;䚍â&#x2018;žâ&#x152;&#x2022;Đ ă&#x2019;Łä&#x2013;&#x203A;Ď&#x203A;á&#x2018;&#x2C6;â&#x20AC;Ťâą&#x2DC;ŕ &#x2039;Ţ&#x2020;â&#x20AC;Źĺ?&#x2122;ŕĽ&#x2030;âˇ&#x2021;Ç&#x201E;á&#x;ĽÓ&#x20AC;ä&#x17E;&#x203A;⍟Ń&#x161;ŕŚ&#x2013; á­&#x201E;࣪ä&#x2020;&#x2019;ä&#x2026;ľá &#x;â&#x2020;&#x2030;ŇšŕŚ&#x17E;á&#x17D;šâ&#x20AC;ŤÖąÝ&#x2039;â&#x20AC;Źä&#x2020;&#x2022;ä&#x2020;&#x2019;ä&#x2026;ľÖľá&#x2122;&#x192;â&#x20AC;ŤŢ&#x161;â&#x20AC;Ź âš&#x201A;Ꮄä&#x2021;&#x192;ŕ´&#x201E;㸟ä&#x2013;&#x2019;Ç&#x201E;

'  Â  Â&#x201A; 

46


    Rhino, Rhino Plug ins and Revit

Mass designed and generated in Rhino

Model information from  

Surface Rationalization Rhino Panelling Tool

Delivery Production in Revit

47

Aedas Beijing Methods In Practice


PROJECT DELIVERY

November 2011 Issue 1

'  Â  Â&#x201A; 

48


Extracting Model Information Through Grasshopper Plug in The leaning character of the building              Â&#x201E;\  

 ometry. A new grid system had to be      "    =   {    ent) and a sub divided column grid. Development of the Facade The intersection between grid system and the mass could offer the informa     spandrels and curtain wall panels in. '              

 driven from the mass is all intercon '    

         it was faster and more effective to reevaluate the design outcome.

1 '" 

       

3

1

2 49

Aedas Beijing Methods In Practice


3

2 '               

4

Facade mullions are added with similar method.

4

November 2011 Issue 1

'  Â  Â&#x201A; 

50


1600

EQ EQ

1200

4000

1200

1200

Surface Panelization through Rhino Paneling Tool

EQ

1200

EQ

The number of panels and their sizes are evaluated through Rhino Paneling Tool Plugin. By feeding manually deÂ&#x201E;\        are generated on the base surface.

The planarity of the panels are checked   

51

Aedas Beijing Methods In Practice

2100

2100


November 2011 Issue 1

'  Â  Â&#x201A; 

52


Delivery Production through Autodesk Revit

3D infomation from Rhino is exported to Revit as +$'  

   

53

Aedas Beijing Methods In Practice


G ON CH

NG YA

N RIA ST DE PE

3 42

RD

Y WA LK WA

SMALL VECHICLE PARKING ACCESS GROUND LEVEL OFFICE ENTRANCE

OFFICE ENTRANCE

E AV HE NG SO

DROP OFF SITE AREA: 2310 SQM TOTAL GFA: 6755.9 SQM TOTAL AREA TO SELL: 3465.1 SQM SITE COVERAGE: 45% PLOT RATIO: 4.3 GREEN AREA: 790 SQM GREEN RATIO: 34%

AN STRI PEDE

MOTER CYCLE: 158 UNITS SMALL VECHICLE: 73 UNITS

AY KW WAL

YA N G

R D

BANK ENTRANCE

SITE PLAN

C H O N G

1

1 : 200

Plans and elevation generated in Revit for project delivery LEVEL TOP

5800

79000

LEVEL ROOF 2

3200

73200 LEVEL ROOF 1 70000

8000

LEVEL 17 66000 LEVEL 16

4000

62000 LEVEL 15

4000

58000 LEVEL 14

4000

54000 LEVEL 13

4000

50000 LEVEL 12

4000

46000

4000

42000

79000

4000

LEVEL 11

LEVEL 10 38000 LEVEL 9

4000

4000

34000 LEVEL 8 30000

4000

LEVEL 7 26000

4000

LEVEL 6 22000

4000

LEVEL 5. 18000 LEVEL 4

4000

14000

4000

LEVEL 3 10000 LEVEL 2

6150

6000

LEVEL 1 LEVEL DROP0 -1200

1

The 3D information from Rhino imported in Revit can be directly used to 

          

       /       tion issued stays coherent with accuracy since every information is derived from a single massing model with various parametric tools. Use of Revit to generate a drawing set also comes in handy when the design goes through frequent changes. Information within the Revit model automatically updates itself according to the newly imported Rhino mass. Because of this software coordination the design evaluation can         

EAST ELEVATION 1 : 200

600 parking entrance clearance

2700

ramp distance B1

28800 ground level mount height

1800 3600

ramp distance B2-B3

26400 3300 3300

November 2011 Issue 1

'  Â  Â&#x201A; 

54


Aedas creates some of the best architectural design solutions from  ?V   Z provide international expertise with innate knowledge and understanding of local cultures. Our designers are committed to contribute and lead in the societies we design for. We have a holistic approach to sustainability which shows our care not only for the built environment but also for the people we work with and the societies we live and work within. The Aedas global network provides 

                            

  $  Â&#x2C6;  *  *   $ Â&#x201A;  commitment and tenacity to improve the natural and built environment are "        

     

  

         

     

Aedas Beijing Methods In Practice

ß&#x192;ä&#x2013;&#x2019;âŚ&#x192;â§&#x2014;೟ܟâ§&#x2014;ä&#x2020;&#x2019;áł?ಯŕ¤&#x2022;Ô­á&#x2020;&#x160;ॲÝ&#x20AC;á&#x2026;¸Ë&#x2C6; á&#x2018;&#x160;ă&#x;&#x2C6;९Ѣáł&#x201D;ÓŹâž&#x201D;âą&#x2DC;á&#x201C;&#x17D;ă&#x201E;Ľä&#x2020;&#x2019;ä&#x2026;ľÇ&#x201E;á&#x;ĽÓ&#x20AC;á&#x2021;&#x161;Üź â§&#x2014;࣪âą&#x2DC;ä&#x2020;&#x2019;ä&#x2026;ľă&#x2019;Łĺ  á&#x2020;?Ѣŕ´&#x201E;áŽ?á­&#x203A;࣪Đ&#x;Đ Ç&#x201E;á&#x;Ľ Ó&#x20AC;âą&#x2DC;ä&#x2020;&#x2019;ä&#x2026;ľá?&#x153;Đ&#x17D;ĎŽĐ?ጤկá&#x201C;&#x17D;ă&#x201E;ĽâŹ áł&#x201D;äš&#x160;á&#x2021;Şâą&#x2DC; ä&#x2020;&#x2019;ä&#x2026;ľâ§&#x161;á&#x2014;&#x2030;Ç&#x201E;á&#x;ĽÓ&#x20AC;âą&#x2DC;ä&#x2020;&#x2019;ä&#x2026;ľŕĄŻĐ?ŕ§&#x192;áŁ&#x2022;ă&#x201C; á&#x2014;ťŕŚĽ á&#x2C6;ŠË&#x2C6;á&#x2018;&#x160;á&#x2021;&#x161;á&#x201C;&#x17D;ă&#x201E;ĽâŚ&#x192;ŕš&#x2014;ϢŇ&#x17D;á&#x2014;ťŕŁŞă &#x17D;äŻ&#x2C6;ă&#x2019;łă&#x2026;?ă&#x2014;&#x2014; ă°ĽÇ&#x201E; ß&#x192;ä&#x2013;&#x2019;âŚ&#x192;â§&#x2014;೟юâ&#x152;&#x2020;Ç&#x192;Đ Ď°ŕ´&#x201E;ŕ¤&#x17D;Ç&#x192;â&#x192;ťâ&#x152;&#x2020;ŇšŕŚ&#x17E; ă&#x2022;˘â&#x152;&#x2020;Đ&#x17D;ĎŽĐ?ጤկŕŁ&#x2122;áŁ&#x20AC;á&#x201C;&#x17D;ă&#x201E;ĽÇ&#x192;á&#x2026;¸â&#x20AC;ŤÝ&#x2122;â&#x20AC;ŹÇ&#x192;áą&#x192; ăž&#x2013;Ç&#x192;ජá?&#x2013;ä&#x2020;&#x2019;ä&#x2026;ľÇ&#x192;ăž&#x2DC;ߌă&#x201E;?áŽ?ä´śâą&#x2DC;ä&#x2020;&#x2019;ä&#x2026;ľŕŚ&#x17E;੼ ä&#x2020;śáłĄŕĄľÇ&#x201E;á&#x;ĽÓ&#x20AC;೟ጤŕ¤&#x203A;âŚ&#x192;ŕš&#x2014;ŕŞ&#x2022;ä&#x2039;źáŽ?ä´śâą&#x2DC;फ़ ࡯ড᯴೼ŕŁ&#x2122;áŁ&#x20AC;ŕˇ&#x17D;â¸&#x201D;ä&#x2020;&#x2019;áŽ&#x2018;Ç&#x192;Ꮽă&#x161;&#x2020;Ç&#x192;ŕ¤?â­ŤÇ&#x192; ŕŹ&#x161;ĎŽÇ&#x192;ÔŁá&#x2026;&#x2122;Ç&#x192;Ѹä&#x2014;ŽÇ&#x192;Ô§ă&#x161;&#x2020;Ç&#x192;äł&#x160;ŕŹ&#x201A;ŇšŕŚ&#x17E;á&#x17D;š ĎŽá&#x201C;&#x17D;ă&#x201E;Ľă&#x201E;?ӫ໮äš?âł&#x201A;Đ Ç&#x201E;


Beijing Aedas is continually pushing the boundaries of architecture. With new    

  and methods must be developed in order to communicate effectively. Construction documentation and current technologies in architecture are tested and explored.

ß&#x192;ä&#x2013;&#x2019;âŚ&#x192;â§&#x2014;࣍Ň&#x20AC;ॲÝ&#x20AC;á&#x2026;¸ä­&#x201C;ᳳҚᴚ९ŕł&#x2019;ă &#x2022;â¸&#x2C6; Ó´ă&#x2019;łá&#x201C;&#x17D;ă&#x201E;Ľâą&#x2DC;⏠䰤Ç&#x201E;乣â´&#x201D;ä&#x2020;&#x2019;ä&#x2026;ľßŻá&#x203A;Łâą&#x2DC;ጤ ŕ¤&#x203A;Ë&#x2C6;áŽ&#x201E;âą&#x2DC;ä&#x2020;&#x2019;ä&#x2026;ľá &#x;â&#x2020;&#x2030;Ç&#x192;ä&#x2020;&#x2019;ä&#x2026;ľáŽ?â&#x160;ŠÇ&#x192;ä&#x2020;&#x2019;ä&#x2026;ľá&#x17D;š â&#x20AC;ŤÝ&#x2039;â&#x20AC;Źä&#x203A;&#x2018;㾥ܚŕ &#x201E;á&#x;ĽÓ&#x20AC;âą&#x2DC;᎚á?&#x152;á&#x17D;šÔ°Đ á´šË&#x2C6;ä&#x2013;­Ő&#x201C; á&#x2022;Ťá&#x201C;&#x17D;ă&#x201E;ĽÖľá&#x2122;&#x192;áł&#x2C6;ॴâ&#x20AC;Ťâš&#x201A;Ţ&#x161;â&#x20AC;ŹÇ&#x192;á&#x2013;żáĽ&#x2039;Ç&#x192;áł?áŹ&#x153;ŕ´&#x201E;㸟 ä&#x2013;&#x2019;ϢѸâ&#x152;&#x2022;Ç&#x201E;ৠáŻ&#x160;乣â´&#x201D;ä&#x2020;&#x2019;ä&#x2026;ľâą&#x2DC;থá&#x2C6;ŠË&#x2C6;áł&#x201D;áŽ&#x201E; âą&#x2DC;áŽ&#x2018;á&#x17D;šáŽ?â&#x160;ŠÇ&#x192;á&#x201C;&#x17D;ă&#x201E;Ľá´¤á­­ŇšŕŚ&#x17E;á&#x201C;&#x17D;ă&#x201E;ĽáĄ&#x201D;á´&#x192;ăšż á&#x201C;ŠÜšá&#x2018;&#x160;â&#x152;&#x;ä&#x2020;ŠÇ&#x201E;

'        been working on advanced techniques and they are shared in this document. They come from a broad range of  /  /    educations and share their unique knowledge to achieve unique designs.

á´&#x20AC;áłłß&#x17E;âŹ&#x2026;ß&#x192;ä&#x2013;&#x2019;âŚ&#x192;â§&#x2014;࣍Ň&#x20AC;ॲÝ&#x20AC;á&#x2026;¸ŕŚ&#x2013;á­&#x201E;࣪á&#x2021;Ł ă&#x2019;&#x2DC;ă&#x201C;Şâ&#x20AC;ŤÝ­â&#x20AC;ŹÇ&#x201E;ŇŞÓ&#x20AC;ŕ§&#x2DC;ĎĄâł&#x152;ৠâą&#x2DC;á&#x17D;šÔ°ă&#x2019;ŁŕĽ&#x161;Ç&#x192;Ꮽ ă&#x161;&#x2020;ŕŚ&#x17E;á­&#x203A;࣪ă&#x161; áą&#x192;á?şá´šŃ&#x161;ä&#x2020;&#x2019;ä&#x2026;ľá &#x;â&#x2020;&#x2030;੠áŽ?â&#x160;Šâą&#x2DC; ໮â&#x20AC;ŤË&#x2C6;࣪Ü&#x2014;â&#x20AC;ŹĐłä&#x2026;˝á´&#x20AC;á­&#x203A;áł&#x2C6;ॴĐ&#x201E;á&#x2020; ŕťŽá&#x201D;˝Ç&#x201E; á&#x;ĽÓ&#x20AC;á? áłŻâ&#x201E;¸ß&#x17E;ă&#x203A;&#x2018;á&#x201C;ŠŕŚĽá&#x2021;?Ѣá&#x201C;&#x17D;ă&#x201E;Ľăž&#x2013;â&#x161;?੠á&#x2014;ą á&#x203A;&#x2021;âą&#x2DC;â?&#x2026;ܚἜä&#x2026;źË&#x2C6;ৠáŻ&#x160;á? áłŻá&#x2018;&#x201C;໻ϮĐ?ä&#x2014;Žä&#x2013;&#x203A; á&#x;ĽÓ&#x20AC;âą&#x2DC;ä&#x2020;&#x2020;ä&#x2014;&#x201E;â§&#x161;㞡áł&#x201D;áŽ&#x201E;䍤âą&#x2DC;ă &#x17D;äŻ&#x2C6;â§&#x161;á&#x2014;&#x2030;Ç&#x201E;

Our wish is to explore ideas and presentation techniques and to educate clients of what spaces can become.

â?˝á&#x201E;¤â&#x20AC;ŤÜ&#x153;â&#x20AC;Ź

Design Director: Andy Wen Benjamin Chan Augustus Chan Yang Nan Yijun Qian Simon Murphy Jihyeun Byeon

ä°&#x153;ŕł&#x2018;Ół ä°&#x153;á&#x2013;´ŕż&#x2022; á´źáź´ äŞ&#x2026;ä&#x2DC;&#x152;ă&#x201E;´ ă˝&#x201C;㊭gŕšźă§&#x2020; लáą&#x17D;äŞ?

Aedas Aedas Beijing Limited Beijing Yintai Centre @FV>@FÂ&#x2030;Â&#x20AC;]  % No.2 Jianguomenwai Streeet Chaoyang District Beijing 10022 China

Aedas Aedas Beijing Limited

࣍Ň&#x20AC;äŤ&#x160;â&#x2039;&#x201E;Đ á&#x2013;&#x2014; á&#x201C;&#x17D;ŕł&#x2018;䮼໪໻㸫ŕ§&#x2039; &á&#x2018;ťá&#x2C6;&#x2013;ऊâ&#x20AC;ŤÜ&#x2014;â&#x20AC;Ź áłąä°&#x2021;ŕ¤&#x17D;࣍Ň&#x20AC;Đ ŕł&#x2018;

T+86 10 8529 0360 F+86 10 6586 2021 www.aedas.com

For any questions or inquires please feel free to contact Aedas Beijing. November 2011 Issue 1


Aedas Beijing Parametric issue 1