Re:从blob开始 - ABBS 论坛

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Re:从blob开始 [精华]

canonrevival

发贴: 1226

2005-03-18 01:19　

BLOB （Binary Large Objects）
以及随着computer真正成为建筑设计核心而产生的很多“关键词”，已经受到广泛而积极的关注并且渐渐步入主流。虽然在建造上仍处于起步和探索阶段，但这股无法抗拒的力量，已经在宣布计算机设计时代的到来。

自哥伦比亚大学建筑学院前任院长BERNARD TSCHUMI在1994年带领学院师生首次尝试计算机设计教学和探索，至今已10年有余，但是国内建筑界相当一部分人对计算机设计，以及这些“关键词”、这些行为和行为的主体--设计者们的了解都才刚刚开始 ( 讽刺的是，全世界最强大的效果图制作公司在1995年成立，十年来一直与哥伦比亚大学“并驾齐驱”)。

本贴试与各位一起对其进行更深入更全面的学习，不知能否打一个好的开始，边学边写，边写边论。

这是一个没有固定计划的学习过程，它开始了，未来的方向随时都会改变。在帖子主体里楼主个人的观点暂时保留，待条件具备、时机成熟时再抖出来卖卖。但在参与各位回复的讨论时，不受此限。

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论坛以前的一些相关讨论链接：
1.关于“虚拟”的几个基本问题——我的一些看法
http://www.abbs.com.cn/bbs/actions/archive/post/1230582_1.html
2.virtual house competition——看看大师们对虚拟住宅的理解 [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=1254702&tpg=1&ppg=2&sty=3&age=0#1254702
3.Greg Lynn和《动态之形》——关于哥大讨论的延续 [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=875139&tpg=1&ppg=1&sty=1&age=0#875139
4.思维风暴： Virtual Architecture [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=652204&tpg=1&ppg=1&sty=1&age=0#652204
5.关于建筑设计过程及设计思想的研究 [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=1205304&tpg=1&ppg=1&sty=1&age=0#1205304
6.transarchitecture——信息时代的建筑学？[精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=623561&sty=3&age=0&tpg=1&ppg=1#623561
7.虚拟建筑和CAD软件 [精华]
http://www.abbs.com.cn/bbs/post/view?bid=31&id=333570&tpg=1&ppg=1&sty=1&age=0#333570
8.Architecture non standard -exposition in Centre Pompidou [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=2571737&tpg=1&ppg=1&sty=1&age=0#2571737
9.关于Fold
http://www.abbs.com.cn/bbs/actions/archive/post/309976_1.html
10.德勒兹所写《福柯》中对diagram的阐述
http://www.abbs.com.cn/bbs/actions/archive/post/803897_1.html
11.美国洛杉矶加利福尼亚大学（UCLA）建筑系校友及教师展 [精华]
http://www.abbs.com.cn/bbs/post/view?bid=1&id=3036279&tpg=1&ppg=1&sty=1&age=0#3036279
12.HARVARD+YALE UPENN+COLUMBIA school of design. [精华]
http://www.abbs.com.cn/bbs/post/view?bid=5&id=2265633&tpg=1&ppg=1&sty=1&age=0#2265633

等等，待补

canonrevival edited on 2005-04-08 13:01

canonrevival

发贴: 1226

2005-03-18 01:49　

blob in 'INDEX Architecture' by Greg Lynn
Greg Lynn在这里逐层深入地描述了blob含义

Blobs constitute a formal intervention in contemporary discussions of tectonics. That is, blobs intervene on the level of form, but they promise to seep into those gaps in representation where the particular and the general have been forced to reconcile--not to suture those gaps with their sticky surfaces but to call attention to the necessary existence of gaps in representation.

首先是blob的角色：它对当代的建构构成一种formal intervention（形式干涉）。general与particular这二者被生生调和的时候，它们之间的gap在representation上被blob渗入，这种渗入恰恰与其sticky（流体性）特质相反，是在强化（call attention to）gaps in representation的存在必要性。

Blobs suggest alternative strategies of structural organization and construction that provide intricate and complex new ways of relating the homogeneous or general to the heterogeneous or particular....

其次是blob的角色实现方式：blob需要结构系统和建造技术的多元交叉策略去实现，同时这种需求带来的是技术革新，也就是blob本身最具积极意义的一面。注意这里的两组词：homogeneous & heterogeneous和general & particular。也就是在解释blob在这两者的gaps in representation上建立的界面的具体含义，这里关乎不到传统意义上的form，它是一个抽象意义上的form，类似diagram表意的方式。

(A) blob is a gelatinous surface with no depth; its interior and exterior are continuous....The term blob connotes a thing which is neither sigular nor multiple but an intelligence that behaves as if it were singular and networked but in its form can become virtually infinitely multiplied and distributed.

第三是blob自身的特质：没有深度的无内无外的连续表面，即topological（拓扑），这种东西不简单也不复杂，但它是一个动态的intelligence（智能），它的表现让人误认为是singular and networked（单一的网格化）的，但它在形式上却会变得multiplied and distributed（无限的层叠）。这时问题聚焦在form上，但Greg Lynn想澄清的就是关于form的表面化的误解。

最后是Greg Lynn关于blob modelling的解释：
(In) blob modeling, objects are defined by monad-like primitives with internal forces of attraction and mass. Unlike a conventional geometric primitive such as a sphere, which has its own autonomous organization, a meta-ball is defined in relation to other objects. Its center, surface area, mass, and organization are determined by other fields of influence....The surfaces are surrounded by two halos of relational influence, one defining a zone of fusion, the other defining a zone of inflection. When two or more meta-balls are related to one another, given the proximity of their halos, they can either mutually redefine their respective surfaces based on their particular gravitational properties or they can fuse into one contiguous surface defined not by the summation or average of their surfaces and gravities but instead by the interactions of their respective centers and zones of inflection and fusion. A meta-ball aggregate is defined as a single surface whose contours result from the interaction and assemblage of the multiple internal fields defining it.

同时Greg Lynn在aesthetics / appearance里谈到了blob在form上的态度：
Form might not always be the first question, but it always has to be the last question. The question of form should never be postponed, avoided, or denied.
The blob started as a computer technique that provoked many questions about geometric multiplicity. Not coincidentally, blobs look like something: they are voluptuous; they reflect light iridescently; they are nonuniform. You can see all those qualities in them, and clearly these are the material, formal, and aesthetic consequences of using that tool. Discovering these consequences takes practice, time, accidents, mistakes, and variation.

blob看上去外表华丽、光芒四射、并且奇形怪状。但其实这些都不是设计的指向，因为设计过程在computer这个tool的辅助下，material、formal和aesthetic都自然的具有了computer的特质，这与传统的material、formal和aesthetic都大相径庭。
开头三段话源自blob(or Why tectonics is square and Topology is groovy)--ANY 14 (1996) 其实这才是关键的问题所在：Why tectonics is square and Topology is groovy？（为什么建构那么老土而拓扑如此之帅？）

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转贴NOMAD大叔在“《INDEX Architecture》浏览笔记”一贴中回复的内容，再次谢过大叔诲人不倦的悉心赐教。

上面的一些文字，有些是挺简短的，读者不能从中明白作者的具体意思，只能希望字里行间得到一点儿提示。本周与同学们讨论Phylogenesis : FOA's Ark里面的两篇文章，刚好与canon兄所关注的话题有关，与Index Architecture并列后，可能有点帮助。

canonrevival wrote:
blobs intervene on the level of form, but they promise to seep into those gaps in representation where the particular and the general have been forced to reconcile--not to suture those gaps with their sticky surfaces but to call attention to the necessary existence of gaps in representation.
Greg Lynn没说gaps in representation是什么，particular和general之间的关系为什么是一种representation，可是我们知到blobs是用来搞批判“再现”的。

The term blob connotes a thing which ... behaves as if it were singular and networked but in its form can become virtually infinitely multiplied and distributed.
这段文字跟另外一篇文章有关(Manuel de Landa，“Deleuze and the Uses of the Genetic Algorithm in Architecture”in Phylogenesis : FOA's Ark by Foreign Office Architects. [Barcelona : Actar, 2004]). De Landa提出三种思路，第一种是 populational thinking。设计者并不是要设计一个独特的东西，而是要通过algorithm的设定，从而生产一系列同类东东，并通过繁植，产生一代与一代之间的各种差异。我们创造的是一代一代的狗，然后选出我们今天要吃的dog。故曰：can become virtually infinitely multiplied and distributed

(In) blob modeling, objects are defined by monad-like primitives with internal forces of attraction and mass. Unlike a conventional geometric primitive such as a sphere, which has its own autonomous organization, a meta-ball is defined in relation to other objects. Its center, surface area, mass, and organization are determined by other fields of influence....
这段文字可以跟Sanford Kwinter的说明拉在一起：The form is the “result of a computational interaction between internal rules and external (morphogenetic) pressures that…originate in other adjacent forms.” (Sanford Kwinter, “Who's afraid of formalism?”in Phylogenesis : FOA's Ark by Foreign Office Architects. [Barcelona : Actar, 2004]). 一个blob既有它内在的规律，也有受到各种外界的影响，跟纯粹自律的几何个体不一样。meta-ball和sphere之间的分别是同一回事儿。

question: "Blob" architecture has been criticized by the architectural media for being nothing more than a novel aesthetic.
嘻嘻！按Michael Speaks的说法，美国与荷兰的分歧，就在这里。

三.blob的特征是拓扑(topological)：没有厚度的光滑表面，内外相连，非单一也非复合。这个智能体表现的很单一并且网格化，但形式上却非常复杂多变。
De Landa一文解释topological thinking时，提出了关键所在：(1)这种思维是以关系为本的(不是以单体/个体为本)；(2)这种思维不是在metric space展开的。metric space就是一种有尺度、有具体和均一的量化空间(quantitative space)。(3)眼光放在一个东东的生成过程上(即所谓phylogenesis)，而不是一个固定的形式上。从拓扑的观点：人、马、鸟的vertebrate body plan是一样的。东南大学朱老身列先进，他对拓扑学和中国园林的认识(见《中国建筑史》，第4版，第228页)可与Greg Lynn、Alejandro Zaera-Polo等比较比较。

美国Log杂志第3期有Alejandro Zaera-Polo采访录，更具体地谈及blob和建筑实物的关系，canon兄也可以看看。

Nomad

canonrevival edited on 2005-03-31 02:40

canonrevival

发贴: 1226

2005-03-18 02:34　

blob in 'the metapolis dictionary of advanced architecture' by Greg Lynn

[MG] 韦氏辞典：a blob is "a globule of liquid; a bubble; a small lump drop, splotch, or daub."

[co]Recently, a class of topological geometric types for modeling complex aggregates that exhibit the qualities of multiplicity and singularity has been developed. The most interesting example is the development of “isomorphic polysurfaces” or what in the special effects and animation industry is referred to as “meta-clay”, “meta-ball” or “blob” models. The explanation of organization of these topological geometries actually outlines a working schema for a new typology for complexity.

In a software program by Wavefront Technologies, Inc. called Metaballs in their Explorer 3Design program, it is possible to geometrically model an organization whose singular characteristics are defined by an assemblage of interacting local forces.

Unlike a conventional geometric primitive such as a sphere, these objects are defined with a centre, a surface area, a mass relative to other objects and importantly by two types of fields of influence. These meta-ball primitives are surrounded by halos of influence.

The inner volume defines a zone within which the meta-ball will connect with another meta-ball to form a single surface. The outer volume defines a zone within which other meta-ball objects can influence and inflect the surface of the meta-ball object.

The surfaces are surrounded by two halos of relational influence, one defining a zone of fusion the other defining a zone of inflection. When two or more meta-ball objects are related to one another, given the appropriate proximity of their halos, they can either mutually redefine their respective surfaces based on their particular gravitational properties or they can actually fuse into one contiguous surface that is defined, not by the summation or average of their surfaces and gravities, but instead by the interactions of their respective centres and zones of inflection and fusion.

A meta-ball aggregate is defined as a single surface whose contours result from the interaction and assemblage of the multiple internal fields which define it. In taneously singular in its continuity and multiplicitous in its internal differentiation. From the perspective of the unified surface, it is a singularity (as it is contiguous but not reducible to a single order) and from the perspective of the constituent components, it is a multiplicity (as it is composed of disparate components that are put into a complex relation).

Temporal development manifests as both subtle and catastrophic movements and fluctuations within and between interacting components results in varying degrees of singularity in more global or large scale structures. In the case of the isomorphic polysurfaces, a low number of interacting components and/or a stable relationship of those components over time leads to a global form that is more simple and stable and less complex and unstable.

In this schema, there is no essential difference between a more or less spherical formation and a blob. The sphere and its provisional symmetries are merely high degree of information in the form of differentiation between components in time. In this regard, even what seems to be a sphere is actually a blob with out influence, an unexact form that merely masquerades as an exact form because it is isolated from adjacent forces.

Yet, like the blob that it is, it is capable of fluid and continuous differentiation based on interactions with neighboring forces with which it can be either inflected or fused to form higher degrees of singularity and multiplicity simultaneously. Complexity is not only always present as potential in even the most simple or primitive of forms, moreso, it is measured by the degree of both continuity and difference that are copresent at any moment. This measure of complexity (the index of which is continuity and differentiation) might best be described as the degree to which a system behaves a s blob.
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另：引NOMAD大叔在03年3月“virtual house competition——看看大师们对虚拟住宅的理解”一贴回复中的一段话

今天課上談及blobs(塊體)，是援用Greg Lynn的"Blob tectonics, or why tectonics is square and topology is groovy"(塊體建構，或曰“為什麼建構比較土而拓扑學比較帅”)(載Folds, Bodies & Blobs: Collected Essays)分析的。這篇文章把建構和blobs分辨得比較清楚﹐也能讓我們把一系列專詞之間的關係弄清楚，現在介紹一下。

Lynn一開始就把建構和希臘哲學中的兩個專詞拉在一起：generalparticular。Lynn说，在建築領域中general所指的是理想性的空間類型(spatial typologies)，這是跟地域性的建造技術相對的。按Lynn的看法﹐建構理論的框架中的空間類型是永恆的，比各種contingent的做法更重要。

Blobs的理論作用正是用來反對建構理論中的general和particular的關係的。Lynn說： Blobs cannot be reduced to a typological essence。由此可見，Lynn的blobs是反類型學的東東，blobs不是廣普性的東東(not generic)。

Blobs的意思跟Hollywood B grade電影有關。這種電影裡有一種怪物，跟以前King Kong那種以大取勝的不一樣，它們沒有口吃人﹐嘻嘻。它們把自己半透明的身體貼在人們身上，慢慢把人身吸收了。這種sticky的怪物內外無別，都是那種半透明半液體的東東，很惡心，因為沒有內外之分，Lynn說整個怪物就是一個surface。言下之意，即blobs跟建構理論追求的框架、cladding和earthworks的那種關係背道而馳。Blobs理論所謂surface是跟建構理論的所謂dressing或cladding相對的。

Blobs是Lynn所謂gelatinous organisms(中文不知叫什麼了﹐嘻嘻)，而這東東的形狀不是由這東東的各種內在關係所支配的﹐這東東的形狀是由各種外在條件所制定的。電影裡的blobs怪物的各種動作(slither, creep,squirm)令人覺得惡心不已，嘻嘻！Blobs的動作，有點像水中漫游，而怪物的動作直接影響了它的形狀，例如怪物要走過來把你吃掉了，它就會隨勢變形了。形狀和動態是分不開的。反過來說，建構理論中的形式(form)就沒有這種動態的考慮了。
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另：NewYork Times July 23 2000 关于The Venice Biennale's Seventh International Architecture Exhibition的评论文章，可以帮助看清一些东西。

http://www.nytimes.com/library/arts/072300arch-muschamp.html

Architecture's Claim on the Future: The Blob
By HERBERT MUSCHAMP

arwin is in the air. Mark C. Taylor, a theology professor at Williams College who writes frequently on architecture, brought this to my attention earlier this year. I was saying I wanted a break from my Freudian-Marxian routine. Taylor leaned closer. "Darwin," he said, sounding like a doctor prescribing a pill.
Meanwhile, Adam Phillips, whose DNA strands should be studied by medical science for the key to higher intelligence, has come out with "Darwin's Worms" (Free Press), a book about the parallels between Darwin's thinking and Freud's. Add the popularity of "Survivor," top it with the mapping of the human genome, and you have something more than hula-hoops. You have survival of the fittest hula-hoops.
Computer technology is rapidly changing the environment for architects as well as for businesses and nations. How are they adapting to it? In what form will architecture survive?
The Venice Biennale's Seventh International Architecture Exhibition, which opened last month and runs through Oct. 29, is right in step with these evolutionary times. It features the latest strain to emerge in architecture in recent years: "blob" design, so-called, produced with the aid of computer animation software. Biomorphic and invertebrate, with seldom a trace of the T-squares most architects long ago abandoned, blobs look like things you would expect to see rising from an electronic version of the primordial ooze. As if to signal the origin of a species, previously lurking in the depths of the Lagoon, the Biennale rounds up blob projects by Greg Lynn, Lars Spuybroek, Ben van Berkel and Caroline Bos, Jesse Reiser and Uneko Umamoto, Hani Rashid and Lise Ann Couture, and other pixel prodigies. Lynn, in particular, was ubiquitous. It was trilobytes, trilobytes, everywhere you turned.
Venice is an ideal setting for examining architecture in Darwinian terms. The city is a pageant of survival and adaptation, of triumphant resistance to climate, conquest and time. Even in Ruskin's day, Venice was an inhabited skeleton. The city's economic and military power had mutated into a pink and gray romance. Its more recent rebirth as a center of art and tourism prefigured the transformation now taking place in cities throughout the post-industrial world.
Architecture, too, has lately come to resemble the inhabited shell of an extinct beast. Architects are heirs to the heroic tradition of pyramids, temples and cathedrals. Yet many of the most talented among them are lucky if they are hired to design a loft. There has never been more building in the world, nor a lower ratio of architecture to junk. Architects now are day-trippers in their own domain.
This year's Biennale should lift their spirits. Usually, this event is the poor, abject cousin of the Art Biennale, the glitzy career fest with which it alternates every other year. This year feels different. The European press turned out. The cameras and notepads seemed to confirm architecture's increasing prominence on the cultural map. Compared with the Art Biennale, it remains an event where ideas matter more than dollars. It appears that in the year 2000, a certain cachet has attached itself to ideas. People may be awakening to the fact that it takes ideas, as well as money, for great cities to survive.
Organized by the Roman architect Massimiliano Fuksas, this year's Biennale is called "The City: Less Esthetics, More Ethics." New Yorkers may find it hard to get behind this proposition. Unless theme park lampposts are your idea of frisky urban design, it will probably not occur to you that New York is suffering from aesthetic overload. Fortunately, the show contradicts its theme at every turn. Congestion, pollution, urban decay, homelessness, even xenophobia and racial intolerance -- social conscience here gets the high art treatment. Welcome to Italy, where every fashion editor carries a Marxist membership card in her Prada purse.
Ethics are wearing bright colors this season. That's the fashion message at the Italian pavilion, the main attraction in the village of national pavilions laid out in the Giardini, the city's public gardens. Visitors enter through a gantlet of monitors displaying famous talking-head architects shot against vivid pink, orange, green and blue electronic backgrounds. The heads look so aged against the pop-up video colors. They must be addressing issues of great ethical import. Never mind. The volume is too low to hear them.
Meanwhile, in the Arsenale, the ancient naval yard where Venice launched the ships that patrolled her maritime empire, there stretches an immense video wall, two stories high and several football fields long, representing la Citta. To a snappy soundtrack, streaming video images hurtle by -- scenes from the global metropolis projected by cameras stationed in two dozen cities. Crowds wait at Asian intersections to cross streets bathed in neon. Trains whoosh past shantytowns. Night falls over a nameless skyline. Waves crash. Desert dunes billow. Heaven knows how these natural features got into the city. The idea must be that the city is getting into them.
I went to Venice with a question in mind. There are now two generations of architects below the age of 50. Are they developing new forms of practice?
Ours is not an era when the government, private patrons, professional organizations or the press can provide architects with cultural connective tissue or unite them behind common causes.
In the cities, our most talented architects are spinning freely within professional vacuums of their own devising. Their ethic is that of shipwrecks: every office for itself. No wonder architects have been so ineffectual in confronting the pressures of global urbanization. To reckon with the monoculture, the shape of practices will have to change more radically than the shape of buildings. Flexible working relationships must be built across geographic and corporate borders. At least, I see no other way out of the present moral impasse.
The national pavilions are signposts pointed in the wrong direction. It feels so dated, in the era of mass tourism, the Internet and the E.E.C., to wander through this display. Fortunately, nationalism is not a major problem afflicting architecture today. Jet lag is a bigger issue. Architects spend as much time on planes as State Department envoys. Their far-flung projects are agents of cross-cultural fertilization.
This idea was evident throughout the Biennale, but nowhere more clearly than in the Austrian Pavilion, of all places. Organized by Hans Hollein, the presentation focused on Vienna but highlighted recent work by non-Austrian architects, including Zaha Hadid, Greg Lynn, Peter Cook and Colin Fournier. An elegant installation in dove gray, white and black, the exhibition included a large map of project sites. The map conveyed the message that cities can foster solidarity among architects, not only in matters of style, but also in resistance to stupidity.
The message was clearly aimed at the nationalists among us. It was even more explicit in a separate gallery, an "Area of Tolerance," that presented architect-designed agitprop posters attacking Austria's Jörg Haider and his anti-immigration policies. But the main part of the show offered a more lasting polemic. With graceful understatement, it suggested that city lovers are an embattled species. We have more in common with one another than with the rest of our respective nations. The ethical fiber that binds us is the cosmopolitan belief that the function of a city is to refuse everything less than the best.
Elsewhere, Hollein has contributed a project of his own design. "Dencity" is a floating raft that holds a contemplative garden inspired by Ryoanji, Kyoto's celebrated temple garden of rock and sand .
East and West, war and peace, water and land: these surrealist juxtapositions compose a haunting meditation on the architect's role in a shrinking globe.
The German show is shocking. The exhibition focuses on Berlin, logical for the first Biennale held since the government returned there. The theme is the capital's transformation over the last catastrophic century. One gallery displays huge black and white street maps that track the city's development at 10-year intervals. In the second gallery, we segue smoothly from moral neutrality to moral equivalency. The wall is hung with photographs of Berlin landmarks as they are transformed or destroyed, by wars hot and cold. Captions are limited to name, address and year. This presentation confuses chronology with history. The result is that history is brutalized.
f I hadn't known that Arata Isozaki was the Japan Pavilion's commissioner, I would have thought the project on view there was the handiwork of Madame Butterfly's marriage broker. Titled "City of Girls," the project was organized by Kazuko Koike and designed by Kazuyo Sejima and Ryue Nishizawa. The theme is gender. Specifically, it presents the Japanese adolescent female as a model of sensibility for the 21st-century city. The architects see her as a figure not yet fully indoctrinated by cultural tradition. Her response to beauty and ugliness is visceral.
To Western eyes, the display looks as dubious as it sounds. The entire pavilion, and a large swath of the garden around it, has been whitewashed, including the trunks of trees. The floor, on several levels, is lined with white gravel. It is noisy and hard to walk on. A square of gravel is planted with rows of tiny plastic daisies. Very cute. A second square has been excised from the floor, creating a well you can peer into. People walk around down there beneath a cantilevered section of the building. Ahh. From the ceiling hangs an overcoat, titled "Mother," designed by Kosuke Tsumura for homeless women. Oh! Oh!
But this work does not fit neatly into Western grids of comprehension. I enjoyed the mixture of sentimentality and sophistication, but felt that I was missing a lot, as you do when you travel to any foreign city. In the era of monocultural familiarity, that sense of strangeness is not only to be savored but also to be trusted.
My favorite work is a perfectly straightforward rendition of the Biennale's theme. Designed by two young Finnish architects, it is a small floating park set within the cargo hold of a rusting freight barge. Moored off the quay of the Arsenale, the barge is partly filled with the city's sludge (the effluent has been treated and doesn't stink). The sludge is covered with a thick layer of gravel, from which rises a small stand of oaks. The leaf crowns are partly visible from the quay, but you can't see the park itself until you climb a gangway to the deck of the barge. From there, you descend another gangway into the trees. Benches line the sides of the barge. A crane, looming above like an enormous sculpture, heightens the serenity of the place. The key to the project is the relationship between two exterior spaces, one enclosed by walls, the second given scale by the crane.
The project retrieves the modern concept of the architect as problem solver. You can see it as a prototype for a community garden on an industrial waterfront, but what is mainly on view is an intelligence that can be applied to different conditions. The fusion of public space, sustainability and visual imagery can take many forms.
Heightened awareness can be ethics enough. This is the moral foundation of Elizabeth Diller and Ricardo Scofidio's work. They build on it here with a project displayed at the show of international work at the Italian pavilion. "Pageant" is a seven-minute computer animation loop on corporate logos. Using black figures on a white field, the loop lines up the icons of the usual monocultural suspects: Disney, Nike, Baby Bells, Texaco, Shell, McDonald's.
This, too, could be considered an example of blob design, as each logo morphs into the next, an endlessly mutable contrast in black and white, signifying nothing. Of course, the power of this nothingness is immense and growing. What ultimately won't be branded? It is astounding to recognize how much nothing we now hold in our heads. The consumerist blob is inside us, competing for market share.
ArchLab, the offering at the United States Pavilion, raises the ghost of the Ugly American, that figure of cold war fun. Members of the European press, among others, have interpreted the show's massive deployment of computer technology as a flashy display of imperial power in the post-cold war era. No doubt computer and military hardware are equivalent on some plane. But I saw the ArchLab as an urbanist, not a nationalist manifestation.
Organized by Max Hollein, Hans Hollein's son and a senior staff member of the Solomon R. Guggenheim Foundation in New York, the project brought together students and faculty from two architecture schools, Columbia University and U.C.L.A. The two groups were assigned different wings in the pavilion, a red brick kiosk of Jeffersonian aspirations, where they worked for four weeks in full public view.
John Hockenberry, the NBC correspondent, was quoted recently in Sony Style on the difference between real innovation and technological illusion: "Innovation changes lives; illusion offers empty promises." Perhaps architecture schools can't afford to patrol the line between innovation and illusion too fiercely. Thought cops could inhibit freedom of research. But the laxity creates an environment in which many illusionists come to believe that they're actually sawing the lady in half.
Hani Rashid, the team director of the Columbia group, has been working the hocus-pocus angle for some time. With his partner in the New York-based Studio Asymptote, Lise Ann Couture, he has cornered a modest niche as a maker of hybrid designs that supposedly fuse architecture with computer technology. As I see it, the only fusion going on here is the old one of smoke and mirrors.
On one monitor, a stick figure gymnast tumbles toward the viewer, morphing the surrounding space into gray ripples. This is supposed to signify the advent of Moving Man, a contemporary replacement of Vitruvian Man, the measure of all things classical. But what we actually saw was a classical, axial cartoon with wavy-gravy walls. Computers could be an invaluable tool for exploring the kinesthetic sense, but this project didn't scratch the surface. The visuals were sexy but vapid.
Another room contained a giant pipe cleaner construction, executed in glowing blue wires. You couldn't get inside it. The wires, which were rigid, were supported by grids of transparent fishing line. I asked Rashid about the grid. I thought the point of using this software was to get away from grids. "This is the grid in a computer model. It shows what it would be like if you were inside the screen." But in a computer model, the grids are curved. And if we were inside the screen, we would be inside the model. "That's a technical limitation." Perhaps. But it's a limitation that others, like the Ocean group from Scandinavia, have got beyond. Also, this model doesn't move. "But it does. See? It vibrates against the blue background. It draws on the tradition of Op Art." Oh. Silly of me not to notice that.
Rashid is a very talented fellow. And I don't doubt that one day we'll all be spending lots of time in virtual space. What's missing here is a sense of real, historical time. Cities are still social condensers. Bodies still require bricks and mortar structures. If they don't concentrate on developing new forms in the material city, today's architecture students could end up as low-level technical consultants at Industrial Light and Magic.
Greg Lynn, who led the U.C.L.A. team, is not yet an innovator. He has still to make the major breakthrough many in the architecture world are expecting of him. But Lynn's experiments with software-driven design are more than technological illusion. U.C.L.A.'s presentation, titled "The Embryonic House," was the more solid -- and Darwinian -- of the two.
Lynn's assignment was simple: be fruitful and multiply. Using Alias Wavefront's Maya software program, the students produced an open-ended essay on the theme of abundance. Given guidelines for a single-family dwelling, their task was to develop variations. The complex, curvilinear computer images they produced were sent to an adjacent model shop where a jig-saw cut them into wood and plastic modules. These were then fashioned into scale models and displayed, along with the modules and computer renderings, in a gallery. The purpose of this exercise is to transfer the blob from the still largely virtual to the physical.
uskin would have loved this. So, I suspect, would Paco Rabanne. One of the designs on view recalls Rabanne's metal disc dresses from the 1960's. It lacked only a fluorescent Dynel wig and a splash of Metal to complete the retro ensemble. And you didn't have to be told that it was in the Pop Tart tradition. But this was a Platonic performance. Ambition was within shouting distance of achievement. Lynn pushed the students to venture further than he has gone in his own work.
It has been said that despite the emphasis on variation, blob designs all look the same, and that blob designers haven't fully reckoned with the realities of construction. I see this work as a genuine mutation, a natural response to the displacement of bricks and mortar by virtual space. It is not possible, at this point, to know where this response might lead. But Lynn is encouraging his students to emulate nature: to throw a bunch of combinations out there with the expectation that some of them will survive and mutate further in an environment that is also rapidly evolving.
ArchLab's format was a mutation itself.
I can't recall a presentation that placed greater emphasis on process, not to mention one that incorporated architects into the display. I didn't see the interaction I had hoped for between the East and West Coast teams. Each kept pretty much to its own game. Still, the latent competition between Rashid and Lynn underscored the idea that New York and Los Angeles had volved into the east and west sides of a single metropolitan condition.
The Biennale's strongest message is that this interurban linkage will accelerate at the global level. A struggle has already emerged between large corporate offices and independent "star" architects, operating as independent contractors with skeletal staffs, who are available for hire much like actors or choreographers. The star system is not going to wither away. There will be more and more stars. They could become a counterculture to the monoculture, or they could become the icing on its cake. Enlightened clients will hire them. What they will bring to the table is risk. Risk is their brand. Clients will demand the brand as they recognize that risk is a more valuable commodity than safety, even in purely commercial terms. The blob may turn out to be more significant as a metaphor for this development -- a logo for risk -- than for the formal qualities of blob designs.
That is the first answer to the question I took to Venice. (An extended treatment of these concepts can be found in Ben Van Berkel and Caroline Bos's book "Move," a manifesto published last year by UN Studio and Goose Press.) A second was suggested by a Venetian friend, Franca Coin. Ms. Coin is president of the Venetian Foundation, the outfit that runs most of the city's major museums. She lives in the Palazzo Barbaro, a Grand Canal mansion of fabled cosmopolitan pedigree. Henry James stayed there for five weeks in 1887, and later used it as the setting for "The Wings of the Dove." I ran into her a few hours after she'd paid a visit to the United States Pavilion.
"They're here! They're here!" she exclaimed, with a look of delight. I assumed she was referring to the pavilion's new breed of wired-up, net-surfing artists, more talked about than seen in a rear-view mirror city like Venice.
Ms. Coin was talking about that, in part. But she was more impressed by the ethnic diversity of the students: not just that one was black, or another Asian, but that she couldn't tell, just from looking at them, what their racial ancestry was.
I would have overlooked this if my friend hadn't mentioned it. New Yorkers are supposed to take racial diversity for granted. We tend to think it's racist to take note of someone's race. But there are times when overlooking race amounts to denying reality, including one's own.
Returning to New York, I ran into Ms. Coin at the airport. She was off to Greece. I noticed that she had taken the names and phone numbers of some of the students. She said she wanted to invite them to lunch when she got back. "We are starved for conversation about today," she said.
So are we, it struck me, as I headed to the gate. In New York, the conversation about today -- about architecture, about race, about contemporaneity itself -- has been squelched since the 70's, never more brutally than in the past seven years, as the reactionaries have dug in their heels. This has been suicidal as well as unjust. Diversity is the greatest asset of cities worldwide as well as the common thread between us. More ethics. More aesthetics. More genetics. The splicing of these strands will continue well beyond the Biennale.

canonrevival edited on 2005-04-03 20:37

Anony

发贴: 764

2005-03-18 16:10　

这个有意思，请继续。

canonrevival

发贴: 1226

2005-03-19 04:00　

ok go on

Architecture non standard (exposition in Centre Pompidou) 即是这一领域的盛会。

可以看woonoo的帖子
http://www.abbs.com.cn/bbs/post/view?bid=1&id=2571717&sty=1&tpg=1&age=0

官方网站
http://www.cnac-gp.fr/expositions/archinonstandard/movie.html

下面是关于这次展览的短文
摘自http://www.designboom.com/contemporary/nonstandard.html

the theme of the exhibition and conference
one thing is clear: with the steadily increasing use of graphic software,
architecture is going digital.
what is less clear, however, is the implication of such changes.
the widespread use of application programs based on algorithmic
systems presupposes changes in design and production tools.
non-standard architectures is a reflection on the language of
architecture and its field of application, based on the exploitation
of digital elements. traditional construction methods can now be
contrasted with production based on the prototyping of prefabricated
architectural elements.
how has the digital chain modified (as in publishing, for example)
the entire economy of architectural production, from initial conception
to end product?
the aim of the exhibition is to make the whole architectural 'process'
visible, from conceptual elements through to experimental objects
and prototypes. it also proposes a reinterpretation of the history of art
and architecture in terms of movement and inflection.

---
what does 'non-standard' refer to?

first of all, to the world of mathematics, and to the major theoretical
breakthroughs (themselves non-standard) that cleared the way both
for fractal and catastrophe theory and for artificial intelligence.

*** the notion of 'non-standard'
first appeared in the field of mathematics in 1961, with the work of
abraham robinson. its implications are manifold and affect every
discipline to which algorithmic systems can be applied, such as artificial
intelligence or morphogenesis (the development of structure).

but non-standard is obviously to be contrasted with 'standard':
i.e.with the dangerous myths of modern architecture that have imposed
norms in terms of comfort, space and basic hygiene - the consequences
of which are incalculable.
the contrast is real, but misleading too: modern architecture cannot be
reduced to a norm which both represents and caricatures it.
the profession's worthiest representatives are hardly united in the cult
of the right angle! instead they pick and choose from the whole inventory
of forms (the line, the helicoid, the hull …).
non-standard architectures are part of a history which is now being
revitalized, thanks to the development of propositions which were long
stifled by standardization and technological limitations.
the weaker version of the non-standard - variations on a pre-established
norm - has become fairly widespread, but the challenge for non-standard
architectures is of a much more radical order: the generalization of
singularity, within a new order: the non-standard.
can we trust in this individualism, with its potential weight of
responsibilities, that may symbolize our 21st-century societies?
or does it just mean a succession of infinitely small variations on an
ever more tyrannical norm?
in other words, can society keep up with morphogenesis?

注：本贴中关于Architecture non standard 的内容部分引自woonoo的帖子，
其他部分内容引自各设计团体的官方网站，有些是截图。

canonrevival edited on 2005-03-31 02:47

canonrevival

发贴: 1226

2005-03-19 04:09　

概念总是要承载到具体的工作上的，而工作又是由一个一个的人和团体来展开。了解各个团体本身及其所做的工作非常必要。
以这次展览为线索，可以看个大概。大将们都出场了。
- Asymptote(Hani Raschid &Lise Anne couture 美国)

- dECOI Architects(Mark Goulthorpe 法国美国英国)

- DR_D(Dagmar Richter 美国德国)

- Greg Lynn FORM(Greg Lynn 美国)

- Kol/Mac Studio(Sulan Kolatan& William Mac Donald 美国 )

- Kovac Architecture(Tom Kovac 澳大利亚)

- NOX(Lars Spuybroek 荷兰)

- Objectile(Bernard Cache & Patrick Beaucé 法国 )

- Oosterhuis.nl(Kas Oosterhuis& Ilona lenard 荷兰)

- R&Sie(François Roche& Stéphanie Lavaux 法国 )

- Servo(David Erdman,Marcelyn Gow,Ulrika Karlsson, Chris Perry 瑞士瑞典美国 )

- UN studio(Ben van Berkel& Caroline Bos 荷兰)

注：虽然已经有一些帖子谈论digital architecture，但此贴更倾向于通过实践来理解理论，望更进一步。

canonrevival edited on 2005-03-22 02:02

canonrevival

发贴: 1226

2005-03-19 04:31　

[Greg Lynn FORM ( Greg Lynn) ]

Greg Lynn FORM 网站
http://www.glform.com/

Lynn是blob的鼻祖，因为这个名字就是他起的，在dynamic兄翻译的一篇文章中这样描述：
......正是Lynn1995年里程碑式的论文“泡状物”（the blob）为上述这类现象赋予了名字，并成为其作者的招牌式替代物。为了寻求建筑中的复杂性，Lynn扭曲了大家熟悉的网格和柏拉图形式，并呈现出屈米（他的院长）和埃森曼（Lynn曾在其事务所工作过）的建筑特征。从笛卡尔视界内部，Lynn提出了一种笛卡尔还原主义的批判。他认为“泡状物”具备了一种不可能还原为任何简单形式或形式组合的连续复杂性。随后不久，这篇文章就被那些狂热的旁观者而不是被Lynn的直系同盟认为是一篇号称某个运动即将迅速兴起的宣言。

首先是introduction，引自该网站。
Greg Lynn:
Because of his early combination of degrees in philosophy and architecture, Greg Lynn has been involved in combining the realities of design and construction with the speculative, theoretical and experimental potentials of writing and teaching. He is the author of six books that combine his interests in contemporary and popular culture with the rigors of architectural theory and history, including: Intricacy (2003 ) , Animate Form (1998) , Folds, Bodies and Blobs: Collected Essays (1998) and Folding in Architecture (1993).

FORM:
Greg Lynn FORM has defined how architects use computers as a design medium. Projects, publications, research and exhibitions have shaped both the use of advanced technology in design and accelerated its integration into construction. The firm’s reputation for these innovations is undisputed and each new project builds on this achievement. Greg Lynn FORM is at the center of debate and discussion not only in American architecture but in the international arena of design culture. From Time Magazine’s list of “100 Innovators for CNN, from Architecture Magazine to Der Spiegel and the Economist, projects that range from retail interiors to cultural institutions, from public housing to coffee sets, have been awarded, praised, contested and never overlooked.”

Venice, CA:
Greg Lynn FORM was established in 1994 in Hoboken, NJ and relocated to Venice, CA in 1998 to take advantage of the design and manufacturing techniques germane to the aeronautic, automobile and film industries of Southern California. The region’s confluence of popular culture, high technology and design is the source of the firm’s many collaborations with fine artists, aerospace manufacturers, filmmakers and car prototype studios. In 1999, with this spirit of high technology and craftsmanship, Greg Lynn FORM was one of the first architecture or design offices in the world to invest in its own computer controlled cutting robot capable of shaping foam, plastic, wood and aluminum at the scale of interiors, furniture and buildings. A new formal and ornamental vocabulary of intricate textures and voluptuous curves was forged from the expertise in converting digital forms into the coded paths that control these new manufacturing tools.

Europe:
The work of the office is continually evolving alongside Greg Lynn’s teaching and research. In addition to his positions as the Davenport Professor at Yale University and UCLA, he has been involved in the intellectual and professional architectural culture of Europe for the last 15 years through projects, lectures, exhibitions and teaching. From 1998 to 2002 Greg Lynn was the professor of Spatial Conception and Exploration at the ETH Zurich. In 2002 he became a professor at the Universitat fur angewandte Kunst Wien, occupying the chair previously held by Hans Hollein. Western and Eastern Europe has become even more central to his practice recently due to his regular presence in Vienna.

另外插一杠子，Greg Lynn是哥大的领军人物之一，在dynamic的帖子“计算机学派——哥大建筑系发家史简介”里可以详细了解。
http://www.abbs.com.cn/bbs/post/view?bid=1&id=806912&tpg=1&ppg=1&sty=1&age=0#806912

经dynamic兄同意，转贴其3年前翻译的一篇文章：

===========================

未经译者同意，严禁以任何方式转载

（引自Architecture, Sept 2000）
计算机学派
——仅仅六年的时间，哥伦比亚大学广泛的数字设计试验已经引起了一场运动。
BY NED CRAMER & ANNE GUINEY

经过几年的沉寂之后，哥伦比亚大学建筑、规划和保护研究生院开始变得大红大紫，并成为涉及和利用计算机进行建筑设计的主要学术摇篮。并不仅仅是哥伦比亚才有数字设计“帮”，实际上，麻省理工学院的媒体实验室早已进行了有关计算机技术的重要探索。但是麻省的数字实验室主要是一个研究机构；相比之下哥伦比亚大学建筑学院，正如其实力雄厚的院长屈米指出的那样，完全是更传统意义上的建筑学院，因而也能更好的实现其专业定位。在一栋McKim, Mead & White所设计建筑铺满爬藤的墙面背后，一个由现任和前任教授以及一些毕业生组成的团结集体——包括Sulan Kolatan和Willian MacDonald、Greg Lynn、Hani Rashid、Jesse Reiser，已经建立了作为数字先锋的响亮声誉（尽管到现在只有少数建筑建成）。尽管并不是建筑学院中的所有系都加入这一阵营，甚至还有一些人反对他们，然而哥大还是成为早期计算机时代建筑风格的最有影响的制造者——比如泡状物（the blob），以及其随后产生的经常出现分歧的建筑哲学的制造者。

1988年屈米成为哥大建筑学院院长的时候正是解构主义运动方兴未艾的时候。像哈迪德、艾森曼和Wolf Prix（蓝天组（Coop Himmeblau）的主要组织者）这样的建筑师都正忙着把笛卡尔网格扭曲成前所未闻的图形，而计算机最多也不过提供了一种有效选择：能渲染复杂图形的绘图板。Gregg Pasquarelli回忆道：“哥大过去以解构闻名。” Pasquarelli是90年代早期的学生，现已成为哥大教授并与他人共同创立了P/A奖——（winning firm SHoP/Sharples Holden Pasquarelli）。由于Alias/Wavefront公司开发的新型建模软件所创造的各种可能性迷住了几个系的一些学生，因此他们在1993年，按照某位教授的说法，领导了一次“接近造反”的运动来反对哥大当时使用的一种用途有限的专利绘图软件。屈米在这次混乱局面中看到了一个绝佳机会，然后，他迅速说服学校在建模课程方面增加费用，并说服学校购买足够强大的Silicon Graphics工作站和苹果计算机以便运行那些建模程序。

1994年秋，三位年轻的教授，Lynn、Rashid和Scott Marble，自愿去教授与新硬件和新软件相适宜的“无纸”操作。“大家都没有任何的计算机经验”，Rashid回忆道，“我甚至曾举起一张软盘问学生是否知道这是什么东西。”没有人知道，大多数系的师生也都不知道。为了使这些教授获得指导，屈米制定了一套教学助教的新模式：引进一些称之为“数字助教”的富于计算机知识的学生。早期那些作为“数字助教”的学生之中，比如Ed Keller和Pasquarelli，当时发现自己处于指导老师的特殊位置，而那些老师也将他们从计算机中学到的东西迅速反馈到他们的实践中。在这个互相合作和互相指导的特殊环境下，一件奇怪的事情发生了：这些软件不久就被大家证明比仅仅是某种渲染工具更有用；它们已经开始渗入和改变设计过程。

像Alias/Wavefront（也就是3DMAX）、Softimage和更晚的Maya，这些程序都具备被建筑创作借鉴的独有能力。例如，上述程序中的某些操作将可以处理被设计者输入到程序内的信息并创造可变图解。这样，所获取的可能性和变化将是无穷的：比如穿越某个场地的移动路线、建筑任务（building program）的要求、甚至例如天气模式的非建筑数据。因而，这些抽象的无确定形态的图解将能或多或少的充当真实的设计基础。

“它们看上去都一样”，Lynn回忆道，他的评论与那些对数字形式早期研究成果的评价一样。“数字形式就是技术。我们正在搞清楚软件的模拟功能。在任何其它工业中都可以找到数字形式：所有汽车看上去都与the Taurus（金牛座？）类似。那种认为这类现象不会在建筑领域发生的想法是幼稚的。”尽管产生的结果可能显得都很类似，但在计算机生成的漂亮光滑的波状表面下却隐藏着差异显著的意图。良好的学术风气促进了Lynn、Rashid、Reiser、Koltan和MacDonld以及其他哥大老师发展出论据充分但有时又互相矛盾的理论，尽管他们的数字建筑理论在形式上是起源类似的探索。但是，正是Lynn1995年里程碑式的论文“泡状物”（the blob）为上述这类现象赋予了名字，并成为其作者的招牌式替代物。为了寻求建筑中的复杂性，Lynn扭曲了大家熟悉的网格和柏拉图形式，并呈现出屈米（他的院长）和埃森曼（Lynn曾在其事务所工作过）的建筑特征。从笛卡尔视界内部，Lynn提出了一种笛卡尔还原主义的批判。他认为“泡状物”具备了一种不可能还原为任何简单形式或形式组合的连续复杂性。随后不久，这篇文章就被那些狂热的旁观者而不是被Lynn的直系同盟认为是一篇号称某个运动即将迅速兴起的宣言。

这种源于哥大建筑系工作室和教研室的诱人图景在九十年代中期，就像大量暗示建筑未来的数字声波扫描图。屈米将这种声名远扬的原因部分归结于哥大在纽约的中心区位，这为他野心勃勃的建筑系提供了更多的与评论界、博物馆负责人和杂志编辑接触的机会，以及与数量不断的居住在此以及来此访问的明星建筑师接触的机会。哥大教授与学生之间的交流甚至扩展到一些旁观者，甚至影响到声名显赫的埃森曼。一些外国建筑师——比如英国O.C.E.A.N事务所和荷兰NOX事务所的Lars Spuybroek——也采用了那些软件来制造他们自己的泡状物变化模式。到1997年6月，也就是在屈米最初工作开展的三年后，Architecture杂志就进行了一次有关泡状物现象的登载封面的报道，并附有不少Lynn和埃森曼的渲染图。从那时起，Architecture杂志已经连续刊载了从哥大计算机文化中产生的两个最有意义的建成项目：由Koltan和MacDonld设计的O/K公寓和由Lynn和douglas Garfalo、Michael McInturf设计的韩国长老院教堂。后来还刊登了由Rashid和Lise Anne Couture设计的古根海姆虚拟博物馆——这是一个网址，不是一座建筑，是一个根据现实业主和真实任务需要完成的项目。

泡状物在继续传播。Keller认为，“不少大型事务所都买了许多Abstract杂志的复印本”，即哥大的学生杂志。屈米自豪地注意到近来的哥大毕业生被不少跨国建筑服务机构抢购一空。Lynn在洛杉矶和苏黎世之间穿梭往返进行着一些教学“表演”，而Reiser也突然跳槽到普林斯顿大学。反过来，屈米也留了一些这几年的毕业生，比如Winka Dubbeldam、Keller和Pasquarelli，同样，这些人也许又从不同角度进一步巩固了哥大的计算机建筑哲学。另外，屈米还把普林斯顿大学的Mark Wigley和莱斯大学的Michael Bell吸引过来。他们都是功力深厚的建筑理论学者，但他们并未真正的站在哥大的计算机阵营一边——这明显说明了这位老练的院长试图保持下一个发展阶段的学校课程和系之间平衡的意图。在哥大3年制的研究生课程中，屈米一直在仔细保持无纸操作的不成熟状态，不过现在仅仅在第一年设置了一些计算机操作。但是如果坐在近几个学期的二、三年级研究生的作业面前，你会发现学生们自己主动在用Maya和Softimage软件做设计。

2000年夏，Lynn代表UCLA（他在此校兼职教学）而Rashid代表哥大，与学生们为威尼斯建筑双年展美国展厅合作设计了两个装置。他们对国际文化界的主要盛事之一的参与似乎说明了他们已获得最高层次的认可，但是这场作秀也显现了获得过多关注的危险，所以不久在《纽约时报》的评论中，评论家Herbert Muschamp发表了一篇针对哥大计算机文化的一般性评论——迄今为止，哥大计算机文化几乎完全缺乏建造实际建筑的可能性：“城市仍然是社会的微缩（condenser）”，Muschamp这样回应Rashid的由计算机线框图生成的巨大实体模型装置。“我们的身体仍然需要砖和灰浆结构。如果现在的建筑系学生没有集中精力发展物质城市中的新形式，那也许他们以后将变成工业制造电光魔术的低水平咨询员。”

每个人都看过图片，但现在他们都想在里面走一圈。不幸的是，与计算机工业相比，建筑工业和房地产开发都处于冰河期。而哥大的计算机领袖们承接任务的速度和揭示将他们的渲染图变成现实的必须方法的速度都很慢。当屈米被问道下个阶段怎么发展时，他迅速回答：“建造（constructability）”。MacDonld认为大批量定制技术的可能性早已具备——就是利用现有设备象制造标准构件一样大批量制造不规则构件的可能性——实际上，这种可能性在盖里那里已经实现，他已经将计算机作为设计工具并将他非常有意义的探索作品输入其中，然后利用计算机控制的加工处理来创造曲线形式的作品，例如他设计的波浪形的杜塞尔多夫办公楼的三个塔楼之一的建造过程。

哥大数字革命的早期时代已经过去——规则已经改写，而现在面临的挑战是如何实现建成。无论屈米领导的团体在哪里开展他们的计算机研究，屈米现在都能泰然宣称已经促成了数字时代最有意义的建筑探索之一的成长。几乎在任何一代都没有怎么出现过某个单独学术机构创造大范围专业冲击的现象，但50年代格罗皮乌斯领导下的哈佛和过去六年中的哥大都创造了这样的奇迹。“伯纳德·屈米已经做到了这一点”，Lynn认为。“但现在他必须再做一次！”
============================

canonrevival edited on 2005-03-26 00:44

canonrevival

发贴: 1226

2005-03-19 20:51　

以下是Greg Lynn FORM 的几大key word，这些terms构成其工作的主体架构

canonrevival edited on 2005-03-19 22:44

canonrevival

发贴: 1226

2005-03-19 20:57　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

Key Word： flowers skins lattice

canonrevival edited on 2005-03-19 22:14

canonrevival

发贴: 1226

2005-03-19 23:10　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:12　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:19　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:22　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:26　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

子辉

发贴: 510

2005-03-19 23:28　

几年前买过一本英国Future System的设计专集，他们做的仿生的形态和blob可能有所关联。另外，个人认为，blob比起box，对于未来建筑和地景在技术上的真正融合可能更会有所帮助。

canonrevival

发贴: 1226

2005-03-19 23:32　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:37　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:41　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-19 23:47　

Greg Lynn FORM
ARK OF THE WORLD MUSEUM & VISITORS CENTRE

canonrevival

发贴: 1226

2005-03-20 00:15　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

Key Word： flowers teaths strand

canonrevival

发贴: 1226

2005-03-20 01:12　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

canonrevival

发贴: 1226

2005-03-20 01:14　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

canonrevival

发贴: 1226

2005-03-20 01:16　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

canonrevival

发贴: 1226

2005-03-20 01:37　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

canonrevival

发贴: 1226

2005-03-20 01:38　

Greg Lynn FORM
SOCIOPOLIS：CIUDAD DEL HABITAT
SOLIDARIO GENERALITAT VALENCIANA

(共19页)

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