数字图解—图解作为“抽象机器”在建筑设计中的应用
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摘要
“图解”是当代建筑创作的核心工具和讨论的核心话题,而国内对“图解”一词的概念还有很多误解,本文从剖析图解概念开始,简述图解理论的产生与发展,最后通过完整呈现一次教学实践中的图解实验讨论了图解方法在参数化设计中应用的可能。
本文要讨论的是一种来源于德勒兹哲学的“生成性”图解。建筑学中的图解分为两种:解释性和生成性。解释性的图解为对某种关系的解释,属于再现的范畴。在建筑史上,每当新的解释性图解出现,都标志着“再现”的转型。在上世纪70年代,以埃森曼的自动主义为代表,建筑界产生一股试图逃脱“再现”机制的思想。而德勒兹的“图解”概念,成了他们逃脱“再现”最好的武器。德勒兹将图解定义为:抽象的机器。它是既不可见亦不可述的,但却创造了可见的结构和可述的内容,具有生成新意义的作用。德勒兹还以画家的工作介绍了图解式艺术创作在现代艺术中的意义。在建筑领域,埃森曼的“自动主义”和库哈斯的“社会学研究”实践分别从两个方面探索了图解式建筑设计。
上世纪末,复杂科学的思想和计算机技术对新一代建筑师的帮助使他们得以将图解技术与计算机技术融和,形成了“数字图解”的设计手段。在他们的设计中应用的数字图解有拓扑形,模拟软件和遗传算法。这些图解蕴含着形态发生的可能,具有生成作用。本文系统探讨了数字图解的设计方法,并将其应用于教学中进行实验。数字图解步骤包括:1.场所调研,得到影响设计的参数,分析参数间的联系2.根据参数间的关系建立参数模型。3.将参数模型具象化,得到设计雏形(三维)。三个步骤。这三个步骤环环相扣,是一个逻辑推导的过程。由此图解方法排除了所有主观设计因素,成为一个建筑自发生成的过程。
在论文的最后,本文对数字图解方法进行了总结。笔者认为,虽然至今为止对数字图解的探索仍具有一定的局限性,但不可否认的是,这种方法已将建筑设计带至一个新的领域,使建筑学的知识得到一次显著扩展。
“Diagram”is the main instrument both in contemporary architectural discourse and practice, while the domestic discourse still has some misunderstanding about“diagram”. This paper begins with articulating the concept of“diagram”, introducing the origin and development of the theory of diagram and its historic applications. At the end, introduce a series of experimental designs which were aimed to explore the possibility that diagram could bring into architectural design.
Peter Eisenman claimed that diagram is historically understood in two ways: as an explanatory device and as a generative device. This paper talks much about the generating function of the diagram, the concept of which was endowed by G·Deleuze and M·Foucault. When used as an explanatory device, the diagram functions to represent some latent relationship or organization. In the history of architecture, when new diagram emerged, it always meant some transformation in the representation. From the 1970s, pioneered by Eisenman’s automatism, there was a desire to be free from representation. Diagram became their best instrument. Deleuze defined it as: Abstract Machine, neither Visible nor Articulable, which enables both visible structure and articulable content. Deleuze set forth this concept by giving an example: the work of Francis Bacon (painter). In the architectural field, we can find similar attempt in Peter Eisenman’s and Rem Koolhaas’work.
Influenced by the Complexity theory and the computer science, contemporary avant-gardes developed their own working method, merging Deleuze’s diagram concept with digital technology. In this way they redefined the diagram to be topology, simulating environment and genetic algorithm, which contains generative possibilities. Inherit much from their work, we defined a set of“Digital Diagram”design method, and in order to try out the feasibility of this method started a series of design experiments. The process include: 1. Site analysis: To obtain relative parameters 2.Set up parametrical model. 3. Visualize the model to a 3D configuration. These three steps linked logically, repelled all subjective opinions, making the project a self produce process.
In the end of the paper, a conclusion is drawn out to claim that although the diagram method being explored so far has its own limitation, undeniably, the method has bring architectural design into a whole new field. It will leads to a great expansion in our architectural knowledge.
本文要讨论的是一种来源于德勒兹哲学的“生成性”图解。建筑学中的图解分为两种:解释性和生成性。解释性的图解为对某种关系的解释,属于再现的范畴。在建筑史上,每当新的解释性图解出现,都标志着“再现”的转型。在上世纪70年代,以埃森曼的自动主义为代表,建筑界产生一股试图逃脱“再现”机制的思想。而德勒兹的“图解”概念,成了他们逃脱“再现”最好的武器。德勒兹将图解定义为:抽象的机器。它是既不可见亦不可述的,但却创造了可见的结构和可述的内容,具有生成新意义的作用。德勒兹还以画家的工作介绍了图解式艺术创作在现代艺术中的意义。在建筑领域,埃森曼的“自动主义”和库哈斯的“社会学研究”实践分别从两个方面探索了图解式建筑设计。
上世纪末,复杂科学的思想和计算机技术对新一代建筑师的帮助使他们得以将图解技术与计算机技术融和,形成了“数字图解”的设计手段。在他们的设计中应用的数字图解有拓扑形,模拟软件和遗传算法。这些图解蕴含着形态发生的可能,具有生成作用。本文系统探讨了数字图解的设计方法,并将其应用于教学中进行实验。数字图解步骤包括:1.场所调研,得到影响设计的参数,分析参数间的联系2.根据参数间的关系建立参数模型。3.将参数模型具象化,得到设计雏形(三维)。三个步骤。这三个步骤环环相扣,是一个逻辑推导的过程。由此图解方法排除了所有主观设计因素,成为一个建筑自发生成的过程。
在论文的最后,本文对数字图解方法进行了总结。笔者认为,虽然至今为止对数字图解的探索仍具有一定的局限性,但不可否认的是,这种方法已将建筑设计带至一个新的领域,使建筑学的知识得到一次显著扩展。
“Diagram”is the main instrument both in contemporary architectural discourse and practice, while the domestic discourse still has some misunderstanding about“diagram”. This paper begins with articulating the concept of“diagram”, introducing the origin and development of the theory of diagram and its historic applications. At the end, introduce a series of experimental designs which were aimed to explore the possibility that diagram could bring into architectural design.
Peter Eisenman claimed that diagram is historically understood in two ways: as an explanatory device and as a generative device. This paper talks much about the generating function of the diagram, the concept of which was endowed by G·Deleuze and M·Foucault. When used as an explanatory device, the diagram functions to represent some latent relationship or organization. In the history of architecture, when new diagram emerged, it always meant some transformation in the representation. From the 1970s, pioneered by Eisenman’s automatism, there was a desire to be free from representation. Diagram became their best instrument. Deleuze defined it as: Abstract Machine, neither Visible nor Articulable, which enables both visible structure and articulable content. Deleuze set forth this concept by giving an example: the work of Francis Bacon (painter). In the architectural field, we can find similar attempt in Peter Eisenman’s and Rem Koolhaas’work.
Influenced by the Complexity theory and the computer science, contemporary avant-gardes developed their own working method, merging Deleuze’s diagram concept with digital technology. In this way they redefined the diagram to be topology, simulating environment and genetic algorithm, which contains generative possibilities. Inherit much from their work, we defined a set of“Digital Diagram”design method, and in order to try out the feasibility of this method started a series of design experiments. The process include: 1. Site analysis: To obtain relative parameters 2.Set up parametrical model. 3. Visualize the model to a 3D configuration. These three steps linked logically, repelled all subjective opinions, making the project a self produce process.
In the end of the paper, a conclusion is drawn out to claim that although the diagram method being explored so far has its own limitation, undeniably, the method has bring architectural design into a whole new field. It will leads to a great expansion in our architectural knowledge.
引文
78 Greg Lynn.“Animated Form”:19
79 Charles Jenks.“new science=new architecture”
80 Anthony Vidler.“Diagrams of Diagrams: Architectural Abstraction and Modern Representation”. Representations, No. 72.
81“The morphodynamical approach, which has spurred two different methodological orientations in dealing with programmatic issues, is the more dominant of the two at the moment. The morphogenetic system is still more or less in its embryonic stage。”Carl Chu.“Metaphysics of Genetic Architecture and Computation”. AD 2006.6 :42
82 Santa Fe Institution (SFI)成立于1984年,是美国非营利性的研究机构。
83米歇尔·沃尔得罗普.复杂:诞生于秩序与混沌边缘的学科.北京:生活·读书·新知三联书店1997.4 :
84米歇尔·沃尔得罗普.复杂:诞生于秩序与混沌边缘的学科.北京:生活·读书·新知三联书店1997.4 :113
85Ibid :112
86宋刚.建筑设计的“过程方法”研究:25
87米歇尔·沃尔德罗普.复杂:诞生于秩序与混沌边缘的学科.三联书店1997.4,:11
88徐卫国.“现象的容器”建筑学报. 2005.9 :62
100米歇尔·沃尔德罗普.复杂:诞生于秩序与混沌边缘的学科.三联书店1997.4,:505
101“You won’t see us but you’ll see what we do”Stan Allen.“Diagram matters”. ANY 23 :16
102“work like theirs indicates our drive for determining the aesthetic dimension of our psyche, and, through this, our culture. Kant struggled with it, Heidegger struggled with it, Freud struggled with it, Adorno struggled with it, Marcuse struggled with it, Lacan struggled with it, and Tafuri struggled with it. It is an unresolved question; it is not inappropriate that we are still struggling with it.”Peggy Dreamer ,“The legacy of the whites”Perspecta, Vol. 32, Resurfacing Modernism. (2001), :99.
[1] [法]米歇尔·福柯著,莫伟民译.词与物:人文科学考古学.上海:上海三联书店, 2001
[2] [法]吉尔·德勒兹著,杨凯麟译.德勒兹论福柯.南京:江苏教育出版社, 2006
[3] [法]吉尔·德勒兹著,于奇智,杨洁译.福柯;褶子.长沙:湖南文艺出版社, 2001
[4] John Rajchman. Deleuze Connections. MIT Press, 2000
[5] [美]加里·古廷著,辛岩译. 20世纪法国哲学.南京:江苏人民出版社, 2005
[6]王先霈,王又平主编.文学批评术语词典.上海:上海文艺出版社,1999
[7] [美]约翰·霍兰著,陈禹等译.涌现:从混沌到有序.上海:上海科学技术出版社. 2001
[8] [美]彼得·埃森曼著,陈欣欣,何捷译.彼得·埃森曼:图解日志.北京:中国建筑工业出版社, 2004
[9] [意]塔夫里著,郑时龄译.建筑学的理论和历史.北京:中国建筑工业出版社, 1991
[10] [德]汉诺-沃尔特·克鲁夫特著,王贵祥译.建筑理论史:从维特鲁威到现在.北京:中国建筑工业出版社, 2005
[11] [美]肯尼斯·弗兰姆普敦著,张钦楠等译.现代建筑:一部批判的历史.北京:生活·读书·新知三联书店, 2004
[12] [英]琳达·格鲁特著,王晓梅译.建筑学研究方法.北京:机械工业出版社.2005
[13]李道增编著.环境行为学概论.北京:清华大学出版社, 1999
[14] [美]罗伯特·文丘里,丹尼丝·斯科特·布朗,史蒂文·艾泽努尔编著,徐怡芳,王健译.向拉斯维加斯学习.北京:知识产权出版社:中国水利水电出版社, 2006
[15] Rem Koolhaas. Delirious New York : a retroactive manifesto for Manhattan. New York : Monacelli Press, 1994
[16] Richard C. Levene, Fernando Marquez Cecilia. AMOMA Rem Koolhaas 1996-2007 [II] : theory and practice. Madrid : El Croquis, 2007
[17] Greg Lynn. Animate form. New York : Princeton Architectural Press, 1999
[18] Ben Van Berkel, Caroline Bos. UN Studio: Design Models - Architecture, Urbanism, Infrastructure. Rizzoli, 2006
[19] Neil Leach, Xu Weiguo. Fast Forward>>Hot Spot-Brain Cells.香港:Map Book Publishers. 2004
[20] MVRDV, FARMAX: Excursion on Density. Rotterdam: 010 Publisher, 2006
[21] Gilles Deleuze; Félix Guattari; Charles J. Stivale. Concrete Rules and Abstract Machines. SubStance, Vol. 13, No. 3/4, Issue 44-45: Gilles Deleuze. (1984): 7-19.
[22] Gilles Deleuze; Rosalind Krauss; Plato and the Simulacrum. October, Vol. 27. (Winter, 1983): 45-56.
[23]杨凯麟.德勒兹「思想-影像」或「思想=影像」之条件及问题性.台大文史哲学报第五十九期:337-368
[24]潘于旭.“差异”逻辑:德勒兹反表象主义的理论特质.浙江学刊2006年第3期
[25] Anthony Vidler. Diagrams of Diagrams: Architectural Abstraction and Modern Representation. Representations, No. 72: 1-20
[26]本·范·博克尔,卡罗琳·博斯.图解.建筑创作. 2006年08期
[27] Ben van Berkel & Caroline Bos. Diagram– Interactive Instruments in Operation. ANY, no.23 (1998): 19-23
[28] R. E. Somol. The Diagrams of Matter. ANY, no.23 (1998): 23-26
[29] Sanford Kwinter. The Genealogy of Models: The Hammer And The Song. ANY, no.23 (1998): 57-62
[30] Stan Allen. Diagram Matter. ANY, no.23 (1998): 16-19
[31] Pia Ednie-Brown. The Texture of Diagrams. Daidalos, Diagrammania, issue 74
[32] David Dunster. Design Essence. The Architectural Review, Jan 2006; 219, 1307;
[33]徐卫国.非线性体:表现复杂性.世界建筑. 2006年12期
[34]徐卫国.非线性建筑设计.建筑学报. 2005年12期
[35]徐卫国.现象的容器.建筑学报. 2006年09期
[36] Charles Jencks. Nonlinear Architecture: New Science = New Architecture? Architectural Design Profile No 129 1997
[37] Greg Lynn. Blobs. Folds, Bodies & Blobs : Collected Essays: 39-44
[38]冯路.表皮的历史视野.建筑师. 2004年04期
[39]田宏著,徐卫国指导.数码时代“非标准”建筑思想的产生与发展.北京:清华大学, 2005
[40]宋刚著,徐卫国指导.建筑设计的"过程方法"研究.北京:清华大学, 2005
[41] Peter Eisenman. Autonomy and the Will to the Critical. Assemblage, No. 41: 90-91.
[42] Peggy Deamer. Structuring Surfaces: The Legacy of the Whites. Perspecta, Vol. 32, Resurfacing Modernism. (2001): 90-99
[43]王立明,龚凯.解读格雷戈·林恩.建筑师. 2006年08期
[44] Ingeborg M Rocker. Calculus-Based Form: An Interview with Greg Lynn Architectural design; Architectural Design October 2006
[45] Carl Chu. Metaphysics of Genetic Architecture and Computation. Architectural design; Architectural Design October 2006
79 Charles Jenks.“new science=new architecture”
80 Anthony Vidler.“Diagrams of Diagrams: Architectural Abstraction and Modern Representation”. Representations, No. 72.
81“The morphodynamical approach, which has spurred two different methodological orientations in dealing with programmatic issues, is the more dominant of the two at the moment. The morphogenetic system is still more or less in its embryonic stage。”Carl Chu.“Metaphysics of Genetic Architecture and Computation”. AD 2006.6 :42
82 Santa Fe Institution (SFI)成立于1984年,是美国非营利性的研究机构。
83米歇尔·沃尔得罗普.复杂:诞生于秩序与混沌边缘的学科.北京:生活·读书·新知三联书店1997.4 :
84米歇尔·沃尔得罗普.复杂:诞生于秩序与混沌边缘的学科.北京:生活·读书·新知三联书店1997.4 :113
85Ibid :112
86宋刚.建筑设计的“过程方法”研究:25
87米歇尔·沃尔德罗普.复杂:诞生于秩序与混沌边缘的学科.三联书店1997.4,:11
88徐卫国.“现象的容器”建筑学报. 2005.9 :62
100米歇尔·沃尔德罗普.复杂:诞生于秩序与混沌边缘的学科.三联书店1997.4,:505
101“You won’t see us but you’ll see what we do”Stan Allen.“Diagram matters”. ANY 23 :16
102“work like theirs indicates our drive for determining the aesthetic dimension of our psyche, and, through this, our culture. Kant struggled with it, Heidegger struggled with it, Freud struggled with it, Adorno struggled with it, Marcuse struggled with it, Lacan struggled with it, and Tafuri struggled with it. It is an unresolved question; it is not inappropriate that we are still struggling with it.”Peggy Dreamer ,“The legacy of the whites”Perspecta, Vol. 32, Resurfacing Modernism. (2001), :99.
[1] [法]米歇尔·福柯著,莫伟民译.词与物:人文科学考古学.上海:上海三联书店, 2001
[2] [法]吉尔·德勒兹著,杨凯麟译.德勒兹论福柯.南京:江苏教育出版社, 2006
[3] [法]吉尔·德勒兹著,于奇智,杨洁译.福柯;褶子.长沙:湖南文艺出版社, 2001
[4] John Rajchman. Deleuze Connections. MIT Press, 2000
[5] [美]加里·古廷著,辛岩译. 20世纪法国哲学.南京:江苏人民出版社, 2005
[6]王先霈,王又平主编.文学批评术语词典.上海:上海文艺出版社,1999
[7] [美]约翰·霍兰著,陈禹等译.涌现:从混沌到有序.上海:上海科学技术出版社. 2001
[8] [美]彼得·埃森曼著,陈欣欣,何捷译.彼得·埃森曼:图解日志.北京:中国建筑工业出版社, 2004
[9] [意]塔夫里著,郑时龄译.建筑学的理论和历史.北京:中国建筑工业出版社, 1991
[10] [德]汉诺-沃尔特·克鲁夫特著,王贵祥译.建筑理论史:从维特鲁威到现在.北京:中国建筑工业出版社, 2005
[11] [美]肯尼斯·弗兰姆普敦著,张钦楠等译.现代建筑:一部批判的历史.北京:生活·读书·新知三联书店, 2004
[12] [英]琳达·格鲁特著,王晓梅译.建筑学研究方法.北京:机械工业出版社.2005
[13]李道增编著.环境行为学概论.北京:清华大学出版社, 1999
[14] [美]罗伯特·文丘里,丹尼丝·斯科特·布朗,史蒂文·艾泽努尔编著,徐怡芳,王健译.向拉斯维加斯学习.北京:知识产权出版社:中国水利水电出版社, 2006
[15] Rem Koolhaas. Delirious New York : a retroactive manifesto for Manhattan. New York : Monacelli Press, 1994
[16] Richard C. Levene, Fernando Marquez Cecilia. AMOMA Rem Koolhaas 1996-2007 [II] : theory and practice. Madrid : El Croquis, 2007
[17] Greg Lynn. Animate form. New York : Princeton Architectural Press, 1999
[18] Ben Van Berkel, Caroline Bos. UN Studio: Design Models - Architecture, Urbanism, Infrastructure. Rizzoli, 2006
[19] Neil Leach, Xu Weiguo. Fast Forward>>Hot Spot-Brain Cells.香港:Map Book Publishers. 2004
[20] MVRDV, FARMAX: Excursion on Density. Rotterdam: 010 Publisher, 2006
[21] Gilles Deleuze; Félix Guattari; Charles J. Stivale. Concrete Rules and Abstract Machines. SubStance, Vol. 13, No. 3/4, Issue 44-45: Gilles Deleuze. (1984): 7-19.
[22] Gilles Deleuze; Rosalind Krauss; Plato and the Simulacrum. October, Vol. 27. (Winter, 1983): 45-56.
[23]杨凯麟.德勒兹「思想-影像」或「思想=影像」之条件及问题性.台大文史哲学报第五十九期:337-368
[24]潘于旭.“差异”逻辑:德勒兹反表象主义的理论特质.浙江学刊2006年第3期
[25] Anthony Vidler. Diagrams of Diagrams: Architectural Abstraction and Modern Representation. Representations, No. 72: 1-20
[26]本·范·博克尔,卡罗琳·博斯.图解.建筑创作. 2006年08期
[27] Ben van Berkel & Caroline Bos. Diagram– Interactive Instruments in Operation. ANY, no.23 (1998): 19-23
[28] R. E. Somol. The Diagrams of Matter. ANY, no.23 (1998): 23-26
[29] Sanford Kwinter. The Genealogy of Models: The Hammer And The Song. ANY, no.23 (1998): 57-62
[30] Stan Allen. Diagram Matter. ANY, no.23 (1998): 16-19
[31] Pia Ednie-Brown. The Texture of Diagrams. Daidalos, Diagrammania, issue 74
[32] David Dunster. Design Essence. The Architectural Review, Jan 2006; 219, 1307;
[33]徐卫国.非线性体:表现复杂性.世界建筑. 2006年12期
[34]徐卫国.非线性建筑设计.建筑学报. 2005年12期
[35]徐卫国.现象的容器.建筑学报. 2006年09期
[36] Charles Jencks. Nonlinear Architecture: New Science = New Architecture? Architectural Design Profile No 129 1997
[37] Greg Lynn. Blobs. Folds, Bodies & Blobs : Collected Essays: 39-44
[38]冯路.表皮的历史视野.建筑师. 2004年04期
[39]田宏著,徐卫国指导.数码时代“非标准”建筑思想的产生与发展.北京:清华大学, 2005
[40]宋刚著,徐卫国指导.建筑设计的"过程方法"研究.北京:清华大学, 2005
[41] Peter Eisenman. Autonomy and the Will to the Critical. Assemblage, No. 41: 90-91.
[42] Peggy Deamer. Structuring Surfaces: The Legacy of the Whites. Perspecta, Vol. 32, Resurfacing Modernism. (2001): 90-99
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