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ExercisesComplete set

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Complete course materials for Design Optioneering in the Construction Engineering degree programme at Politecnico di Milano. The document covers: POLITECNICO DI MILANO COURSE: DESIGN OPTIONEERING ACADEMIC YEAR: 2016/17 LECTURER: ANDREA VANOSSI STUDENT: DE DONATIS LORENZO - 876178 Program: Building engineering Politecnico di Milano Lecturer: Eng. Arch. Andrea Vanossi Course: Design optioneering 2016/2017 A.Y. Matr. 876178

Design OptioneeringComplete set

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Complete course materials for Design Optioneering in the Construction Engineering degree programme at Politecnico di Milano. The document covers: POLITECNICO DI MILANO COURSE: DESIGN OPTIONEERING ACADEMIC YEAR: 2016/17 LECTURER: ANDREA VANOSSI STUDENT: DE DONATIS LORENZO - 876178 Program: Building engineering Politecnico di Milano Lecturer: Eng. Arch. Andrea Vanossi Course: Design optioneering 2016/2017 A.Y. Matr. 876178

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POLITECNICO DI MILANO COURSE: DESIGN OPTIONEERING ACADEMIC YEAR: 2016/17 LECTURER: ANDREA VANOSSI STUDENT: DE DONATIS LORENZO - 876178 Program: Building engineering Politecnico di Milano Lecturer: Eng. Arch. Andrea Vanossi Course: Design optioneering 2016/2017 A.Y. Matr. 876178 De Donatis Lorenzo Exercise 1: Rhinoceros: realisation of a Static 3D model of the zenith music Hall by Fuksas Introduction to digital technology In this first exercise a static 3D model of the Fuksas’ “Zenith Music Hall” has been created. This hall is a place intended to be used for sofisticated music, and it has been built in Strasbourg, France; geographical data will be fundamental for further analysis on solar and wind effects on the building that will be seen in the final part of the script. The model has been designed with Rhinoceros, a computer-aided design application software based on the NURBS mathematical models, that makes the editing of the model highly intuitive and predictable focusing on producing geometrically precise representations of curves and surfaces. This approach is fundamental in order to deal with digital design. In this field, according to Rivka Oxman and her ‘Theory and design in the first digital age’, the designer retains the central symbolic position in the design schema. Thanks to the progresses in digital tecnhnology the designer is now able to interact with generative and performative processes and mechanisms. All these processes are then addressed to the composition of a model that contains four basic components, denoted as: representation (R), genera- tion (G), evaluation (E) and performance (P). This first exercise is related to the ‘representation’ component, with which the designer tries to give an idea of the external shape of the building and the…

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