Simulation
Today, architects are increasingly relying on building simulation programs to aid in the design of a new structure. In terms of design and energy performance, the use of simulation programs, allows the designer to determine how natural phenomena such as, the wind, sun, and moon, affect the efficiency of the buildings structure. Simple studies such as, “the building orientation and shading studies were carried out by the architects using Ecotect, a software recently acquired by Autodesk. The three-dimensional architectural model was then transported into eQUEST, a sophisticated building-energy-use analysis tool initially developed as part of DOE-2, which allowed the engineers to optimize the mechanical and electrical systems, as well as the building envelope” (model behavior 1). The simulation program allows the designer to take a section of the exterior wall, in order to examine the façade orientation and overhang size to study heat gain. (Who would have thought this would ever be?). The architects who designed this building used a cone-shaped column, if you will, to provide structural support for the roof, as well as bring in daylight deep inside of the complex. These cones are also used to cool the interiors, by drawing warm air up and out of the building through their tips. The use of, “Computational fluid dynamics (CFD), which utilizes numerical methods to simulate the interaction of fluids and gases within complex systems, was employed extensively on this project to ensure that the flow of air through these cones produces the greatest cooling effect” (modern behavior 2).
Computer simulation programs are also being used to determine the amount of daylight that enters a space, and how it appears at different times of the day, or year. When designing an exhibition it’s important to keep in mind that, “a sense of subtle changes in outside conditions is desirable. But rapid swings in lighting levels are not” (sun shine 1). To determine the primary direction of illumination within the gallery space, an illumination vector analysis was conducted. As a result of the study, “designers refined the sunshade, adding a “kicker” at its bottom edge. This 3-foot-tall vertical element bounces light back to the south-facing wall, creating more uniform daylighting conditions” (sun shine 3). The art museum will consist of “a 30-foot-tall structure suspended from the roof trusses and floating about 10 feet from the gallery floor will surround the new skylight with frosted-glass fins (sun shine 3). This hanging element, together with fabric baffles enclosing the roof trusses and the large-works gallery floor, reflect, refract, and diffuse daylight passing through the new skylight and direct it to flanking side galleries. This strategy provides two levels of control. It prevents direct light from hitting artwork and controls diffuse and scattered light (sun shine 5).
Through computer simulation, critics were able to analyze Frank Lloyd Wright’s, Darwin D. Martin House based on direct observation and 2D architectural drawings. However, their conclusions lack insight made visible by 3D computer visualizations. These computer techniques reveal a unique relationship between the space of the Martin House and its fireplace. Only through computer analysis did it become clear that this relationship exists and what specific architectural conditions make it so. Within the computer environment, a model of the various volumes of the house was constructed in order to analyze the spatial conditions in Wright’s design. What was concluded is that, “the various volumes as defined by the structure interpenetrate. Because the areas of overlap can be perceived as belonging to multiple spatial orders, a complexity develops that enriches and activates the space of the house” (Comp. Visualization 1). Viewing the spatial model in elevation illustrates the vertical spaces where they exist between levels of the house. "Turning off" and removing from view any CAD layers that represent purely functional vertical volumes in this elevation—specifically the chimneys' ventilation spaces and all staircases—only one vertical spatial element remains that acts in unifying the levels of the house. This is the space encircled by the staircase of the main entry hall. The upward movement of the staircase surrounds and reinforces the verticality of this form, and where the stairway arrives at the second floor, an ornamental partition and landing trace the space. Vertical spatial volumes such as this one within Wright's residential work are rarely noted (Comp. Visualization 2). Conveying its critical findings through visualization, this study indicates just how the computer can provide a new way of "seeing" and evaluating architectural design. The ability of the computer to visualize an architectural concept such as space and its ability to selectively edit for content what we see provides us with a profound new manner in which to evaluate architecture. The computer is a valuable tool where its techniques can assist in creating a greater understanding of architecture and design (Comp. Visualization 2).
Sources:
Model Behavior: Anticipating Great Design
http://continuingeducation.construction.com/article.php?L=5&C=471
Let the (Indirect) Sun Shine In
http://continuingeducation.construction.com/article.php?L=5&C=406
Computer Visualization as a Tool for Critical Analysis by Mark Maddalina
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