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|Title: ||Applying nature dynamics in design generations : water morphology transformation|
|Other Titles: ||變動自然元素的設計衍生 : 水形態轉化之研究|
|Authors: ||黃姵慈;Huang, Emmie Pei-Tzu|
|Keywords: ||變動自然;自然紋理;再現;液態;水形態;參數化;Nature Dynamics;Nature Pattern;Representation;Fluid;Water Morphology;Parameterization|
|Issue Date: ||2015-05-04 09:57:12 (UTC+8)|
Nature has been the origin of architectural pattern since the Roman and Greek. Its smooth curve and organic form brought aesthetic to the plain surface and orthogonal structure. The pattern of nature has been utilized to an extend that during the evolution in the 1900s, Austrian Adolf Loos stated it as ornament is crime. Besides, speaking of nature pattern, this search investigates possible interrelations between our natural environment and architecture.
Intrigued by David Wade’s book of Li, I selected sixteen Chinese characters that have significance of water as their meaning element and a descriptive element adjacent to make each of them categorized as associative compounds (one of the six categories of Chinese characters). Not only for its symbolic meaning but also the resemblance between the dynamic and its composition. Based on the principle of the making of Chinese characters, the structure consists fundamental radicals, also known as section headers. In another word, the radical of Chinese characters allows us to trace back its origin and dynamic. Each of the sixteen Chinese characters is represented in a series of photographs, whether it is a noun or verb. Capturing the phenomenon of the specific fluid dynamic during the moment of action. The fascinating pattern forms, we perceived in the two dimensional graphics, fluid dynamics have an immediate relationship with time and energy. Theses pattern forms are magnified and redefined into configurations that best articulate their dynamics. Two dimensional diagrams were inspired from the series of photographs, and driven from the iconic vector line drawing. A series of diagrams are produced by Rhinoceros and some are also generated through parametric design tool: grasshopper. Four out of the sixteen characters are chosen to made into models that are considered as diagram machines to produce symbolic diagrams, which relates back to the origin Chinese characters (symbolic representation of the dynamics). In combine of the knowledge I gathered from this research, the four diagram machine of the water dynamic of foam, spray, dissolve and wave are translated into four building projects.
The thesis is rather analytical than experimental. Through the research of sixteen water dynamics and their different types of representation: symbolic, iconic, and analogical, the dynamic patterns I have seen no longer stand for a simple two dimensional graphic meaning. The design outcomes fulfilled the ambition of structuring the series of analytical representation in water dynamics.
|Appears in Collections:||[建築學系暨研究所] 學位論文|
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