滑水是对凉亭建筑类型学的探索。这一概念的灵感来源于莱布拜斯·伍兹(Lebbeus Woods)的绘画作品(作为对达芬奇最初实验的诠释)。伍兹先生将滑行现象描述为：“一个高度动态的空间，其中有推动方向运动的力量，以及不断运动的物体.”。他的想法在我们这群多学科的设计学生中开辟了一个对话。

Slipstream is an exploration of the pavilion architecture typology. The concept was inspired by the drawings of Lebbeus Woods (as interpretations of Leonardo Da Vinci’s original experiments). The phenomenon of slipstreaming is described by Mr. Woods as, “a highly dynamic space active with forces that impel a direction that moves, together with the moving body continuously creating it...”. His thoughts opened up a dialog within our group of multi-disciplinary design students.

 © David A. Palmieri

C.David A.Palmieri

它被同意追求一个设计，受现有的，高流量，路径，和概念上被人们通过一个更大的空间移动感兴趣的影响。在使用者周围创造物质变化和非物质气氛转变的想法，是对正在经历环境变化(即视觉/概念动荡)的思维的一种解释。这篇演讲的目的是创造一个美学上令人愉悦和概念上发人深省的展馆。设计过程还围绕着探索数字设计方法并将其转化为一种物理表现形式。

It was agreed to pursue a design influenced by existing, high-traffic, pathways, and conceptually intrigued by the moving of people through a larger body of space. The idea of creating both a material change, and an immaterial shift of atmosphere, around the user, was an interpretation of the mind experiencing a transformation of surroundings (i.e. Visual/conceptual turbulence). The goal of this discourse was to create an aesthetically pleasing and conceptually thought provoking pavilion. The design process also revolved around exploring and translating digital design methodologies into a physical manifestation.

 © David A. Palmieri

C.David A.Palmieri

参数化设计使得展馆可以通过流体关系来设计和控制。通过将场地吸引子、比表面积、允许高度限制和制造限制等参数联系起来，我们在形态生成和美学上有相当大的自由度。这包括探索密度和孔隙度之间的差异，以及使用光作为介质。

Parametric design allowed the pavilion to be designed and controlled by fluid relationships. By linking the parameters of site attractors, surface area, allowable height restrictions, and fabrication limitations, we had a considerable amount of freedom with form generation and aesthetics. This included exploring the differences between density and porosity and the use of light as a medium.

 © David A. Palmieri

C.David A.Palmieri

设计过程以平面的方式开始，探索一个由点组成的网络构成的平面。这个平面演变成一个曲面，它最终根据期望的u/v值被细分。这些值或点被进一步用于创建向量域。当应用到一个表面，矢量变成空间，传达方向性。每个向量的谱系可以追溯到其位置相对于吸引点放置在普遍的地方条件。每个吸引子对每个矢量的长度和方向都有影响，使得场地条件的影响对滑流的密度和方向性至关重要。

The design process began planimetrically, exploring a plane populated by a network of points. This plane evolved into a surface, which was ultimately subdivided on the basis of a desired number of u/v values. These values, or points, were further used to create a field of vectors. When applied to a surface, the vectors became spatial, conveying directionality. Each vector’s lineage could be traced to its location in relation to attractor points placed at prevalent local site conditions. Each attractor had an influence on the both the length and direction of each vector, making the influence of site conditions vital to the density and directionality of the slipstream.

 drawing 01

drawing 01

在矢量产生之后，它们被投影到期望的表面，创造了独特的空间条件。这些条件是可变的，而且是流动的，因为任何编码关系的改变都会极大地改变设计的表达。数字控制使设计过程得以迭代发展。滑流的每一次迭代都提供了关于未来转换的信息。不同的迭代产生了更清晰的结构逻辑，而另一些则提供了更理想的美学。改变参数的能力导致了引人注目的搜索或选择，其中的变化以最成功的方式描绘了我们的设计思想。一旦确定了所需的清晰度，则通过对主要结构的偏移和数字操作来确定亚表面。由此产生的外部结构滑流密度被投影到地下，从而产生了关系透明度。

Following the creation of the vectors, they were projected onto the desired surface, creating unique spatial conditions. These conditions were both variable and fluid, given the fact that the changing of any of the coded relationship could drastically alter the expression of the design. The digital control allowed the design process to develop iteratively. Each iteration of the slipstream became informative of future transformations. Various iterations produced a clearer logic of structure, while others offered a more desirable aesthetic. The ability to change parameters resulted in a compelling search, or selection, of which variation portrayed our design ideas in the most successful way. Once the desired clarity was established, a subsurface was determined by an offset and digital manipulation of the main structure. The resulting density of exterior structural slipstream was projected onto the subsurface, resulting in a relational transparency.

 drawing 06

drawing 06

在数字设计向制造的翻译中，物质性成为一个重要的问题。为了实现滑流各部件弯曲、流动的特性，我们对竹秆的柔韧性和强度进行了探讨。我们很快就发现了计算生成的表格与给定材料的公差之间的差异。通过引用脚本的输出，可以正确有效地定位和绑定所有的交叉口。由于结构构件的固定长度以及它们符合操纵几何的能力，结构本身就具有了几何学的推导性。然后，在一个反射的雷克萨斯皮，由数控路由器切割和定向砂纸，引导移动的空间。雷克萨斯的皮肤允许周围的云，当内部结构和一个非物质的变化，由现场的反射时，从展馆外的经验。

Materiality became an important question in the translation of digital design to fabrication. To achieve the bent, flowing nature of the slipstream’s individual components, we explored the flexibility and strength of bamboo stalks. We discovered very quickly the discrepancies between the forms created computationally and the tolerances of the given materials. By referencing the output from our script, all of the intersections could be correctly and efficiently located and bound together. The structure inherently took the derivation of geometry once lifted into place due to the fixed lengths of the structural members and their ability to conform to the manipulated geometry. The subsurface was then rendered in a reflective Lexan skin, cut by a CNC router and directionally sanded to guide movement through the space. The Lexan skin allowed for a clouding of the periphery when inside the structure and an immaterial change created by site reflections when experienced from outside of the pavilion.