AIR TITLE PAGE TENTATIVE SUE WANG 542054
INTRODUCTION INSERT SELF PORTAIT HERE
WHO AM I? I am Sue Wang, 3rd year environments student majoring in Architecture. My hobbies include drawing, drawing and also reading. I have very little experince in regards to computer designing whether it be Photoshop or Rhino and I am keen to learn any new techniques that will help me in the future.
WHAT HAVE I DONE? To the right you can see my lovely first year Virtual Environments project. The brief was the create a working lanturn which could be worn and light up, and was to be based on the natural process.
VIRTUAL ENVIRONMENTS - 2011 SEMESTER 1 COMBUSTION The lanturn was to be based on a natural process, and I chose to focus on combustion. Combustion I related to fire, focusing me lanturn on flames, engulfing a person. The lanturn was to be located on the arm engulfing it in flames. Fire, has the attributes of wild and uncotrollable. However, in my project I explored flames/fire in a controllable manner, making the flames spiral up in a symmetrical and systematic manner.
BEIJING NATIONAL AQUATIC CENTRE PTW ARCHITECTS, CSCEC, CCDI, ARUP BEIJING, CHINA 2007 Beijing National Aquatic Centre was originally conceived as a swimming competition ground for the 2008 Summer Olympics held in Beijing, China. It has since been transformed to a water theme park, still retaining the theme of water.
The Aquatic Centre, is The structure of the Aquatic centre is based on the natural form of bubbles which was made possible through the use of the WeairePhelan structure. A complex 3-Diementional structure that represents an idealized foam of equal sized bubbles. This building could only have been made through the use of digital designing technologies. Digital fabrication allows for easy organization of each bubble segment and the precise measurement of each individual section which would not have been possible through the use of traditional methods. The precise measurement is also highly important the sheer number
and variety in bubble size means by traditional methods would take a long time to calculate to perfection and also to make individualized in form, however, through digital fabrication it can be easily achieved. The Aquatic Centre appears to be made from many individualized curved panels of glass, it however is made using Ethylene tetrafluoroethylene (EFTE) a type of plastic. A material rarely seen in Architecture even in modern times. The plastic allows for a lighter alternative to glass and also has to extra benefit of easily being able to be fabricated to the precise dimension specifications.
The Beijing National Aquatic Centre truey is an architectural achievement made only possible through the use of digital fabrication.
READING BETWEEN THE LINES GIJS VAN VARENBERGH LIMBURG, BELGIUM 2011 While it is intended to be a sculpture rather than architecture it still employs a new way of thinking and causes one to think what defines architecture.
And to provide a unique visual experience of experiment, reflection, a physical involvement with the end result and the input of the viewer.
Designed to be in the form of a church, emulating the church spire, dome, cross and arches as seen as common church elements. And borrows architectural elements in the form of scale and ground plan. However, it does not fulfill the basic requirements of architecture unable to provide a basic shelter, through the sculpture being completely transparent. Nor does it provide the basic classical function being too small in size.
Never before has there ever been something created to be transparent in this manner, especially without glass. While not explicitly stated, the church must have some elements of digital fabrication specifically for each individual steel panel and column preemptively calculated to perfection with the use of digital technology and especially the exact placement of each steel layer, one wrong dimension could ruin the integrity of the piece.
The sculpture is based on the idea to always be able to see the neighboring surrounding environment and seen through its transparency. And to provide a unique visual experience of experiment, reflection, a physical involvement with the end result and the input of the viewer.
While the building is classified as a sculpture it quite clearly pushes the boundaries of how we define architecture. Is it art? A habitable living space? Or is even just the form able to classify Reading Between the Lines as architecture?
The church has become â€œan transparent object of art" -
RHINO GRASSHOPPER A WORK IN PROGRESS ON COMPLETEING THIS PAGE.... YAY
Andrea Graziano, Alessio Erioli, Davide del Giudice, Mirco Bianchini and Alessandro Zomparelli MIGZ Festival, Moscow 2011
Convoluted Inferences, was formed through the experimental Rhino Plug-In, Weaver Bird. Weaver bird is a topological editor, focusing on creating hard to draw shapes that go beyond the established tilling patterns. The project itself was an experiment to test the realms of the program, testing morphology, organisation and how patterns can have dynamic behavioural effects and how the interact with their surrounding environment to create an “organic complexity.” “WeaverBird gives architects more lows them to create complex join in orderly ways, yet in WeaverBird refers to the real life animal the Weaver Bird, where the male weaver bird creates intrique nests to attract a mate. WeaeverBird hopes to emulate the “organic complexity“ of their nest, creating a reapting pattern that is hard to hand create and complex surface structures that join in an orderly way.
geometric control and alsurface structures that arbitrary configurations.”
The main usage of digital techniques is to fabricate designs that are hard or near impossible to create through traditional means. This project highlights one of the key results that can be achieved through digital design, and that is the ability to create precise infinite and continuous surface from any mesh. Through traditional techniques itâ€™s hard to draw a constant and precise repeating pattern especially that of the complexity Convoluted Inferences exhibits, therefore demonstrating the ability of computation design, in its ease of helpfulness in regards to people. A new advantage WeaverBird brings to digital design is the ability to create complex tiling patterns that had were hard to achieve even by digital techniques and also the ability to be able to control the position of the tiling on the surface, allowing for greater interaction with the piece while during its conceptual phase. While through digital design we can create precise uniform patterns and achieve complex forms not available through traditional methods. Programs still cannot calculate human error and the environment surrounding the project. While it may seem ridiculous to consider human error, the transfer over from digital to physical will have drastic changes, we as humans cannot make things as precise as a computer can, therefore the transfer over will not work as exact as the digital design. While there are ways of prefabricating materials it is still not perfect, but closer to in situ construction. Also digital design creates designs in perfect conditions and do not consider the local climate and surrounding environments, and is something we ourselves must consider when designing using digital methods, especially since the surrounding environment can have a large impact on the design. Therefore while digital computation is great at creating uniform complex designs, it still cannot take calculate external factors into the designs.
The HongKong Shenzhen Border Station is an entry to a competition regarding the new design of the HongKong Shenzhen Border Station. The Entry to the contest uses new computing technique and program known as GECO, a prototype plug-in for Rhino. GECO is a computing device that allows users to “export complex geometries to evaluate the design performance of the project.” In using the GECO program, the architects were able to create a building that interacted with its surrounding elements. Especially concerning itself with sunlight, how to maximize sunlight and how to control it. Computation design is a new tool in which Architects have in expressing their art. Digital design is able to test the parameters on a digital medium without wasting resources, also able to create a repeating pattern along a surface, creating a uniform and precise pattern that otherwise cannot be reproduced by hand or produced less precise. There are, however, limitations to digital design, in using design we thus further limit ourselves in analyzing and understanding both the site and the design itself. The main issue concerned with digital design is that the programs are making our lives easier, making it so that we think less about our design choices and rely more on the programs to do our work for us. This is not necessarily true; we still put a lot of cognitive effort into our designs through digital design. We are still aware of what we are doing, how each element affects and interacts with another element and we still place a high importance on thoughtful/conscious design (planning each and every move we make) however, we no longer start considering the surrounding environment and how our design might interact with the surrounding site. GECO is a program devised to combat this problem, we can now analyse our site through the use of digital technologies, making this a huge leap forward for digital design. But this still raises the question of how much cognitive effort we place in our designs and if we are just relying too heavily on digital computation to do the work for us.
Shenzhen Border Station
SPAN (Matias Del Campo and Sandra Manninger with Federico La Piccirella and Filippo Nassetti) HongKong, China 2011
“GECO allows the user to export complex geometries, evaluate the design’s performance in Ecotect, and import the results back into Grasshopper, without reworking the model repeatedly.”
RHINO GRASSHOPPER An exploration on the lofting capabilities of Rhino Grasshopper. Creating a pavillion consisting of interweaving and interjoing pipes. The first one was a basic lofting of three semi circle curves in a straight line. The end result was a basic pavillion in which the vertical and horizontal pipes interracted at straight angles, forming evenly spaced quadranal shapes between the veritcal and horizontal pipes. The second was a more experimental to see how the interjoining pipes would interact if the pavillion was curved and in a circular or spiral formation. The end result formed a less evenly spaced product, the pipes were more irregular and and more curvy, formatng a topological map sort of formation. This was trialled twice, once just one arc and one spines, the other was trialled wiht two arcs at 90 degree angles from each other. The singular arc had a lot less pipes than the pavillion with two arcs, which resulted in more pipes in the seconds creating a more uniform organisation of pipes, and less empy space.