Flexible Modelling Folio

E

IBL

FLEXIBLE

MODELING Student ID 3633669 Dr. Mehrnoush Latif - 2018S

LE X

Jorge Mario CastilloVelasquez

https://wallup.net/preview/?wallpaper=abstract-3d-pattern-square

CONTENT BIOGRAPHY

4-5

CHAPTER 1 PATTERN 2D 6-11 Command Chart Workflow Diagram Design Pattern 2D Reflection 12-13 CHAPTER 2 PATTERN 3D 14-19 Command Chart Workflow Diagram Design Pattern 3D Reflection 20-21 22-33 CHAPTER 3 FLEXIBLE 2D PATTERN Command Chart Workflow Diagram Design Pattern 3D Reflection 34-35 CHAPTER 4 COMPLEX PATTERNS 36-47 Command Chart Workflow Diagram Design Pattern 3D Reflection 48-49 50-57 CHAPTER 5 DIGITAL FABRICATION Concept First Exploration Second Exploration Reflection 58-59 60-79 CHAPTER 6 REVERSE ENGINEERING Precedent 1 Precedent 2 Matrix of Variation Reflection 80-81

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

CHAPTER 7 WEEKLY CHALLENGES 82-93 Images Sampling Kangaroo and Physics Weaver Bird & Paneling Tools Anemone and Exosqueleton CHAPTER 8 INTERACTIVE PATHWAY I 94-103 FIRST DESIGN CYCLE Client and Cite Map Concept Exploration Concept Exploration CHAPTER 9 INTERACTIVE PATHWAY II 104-127 SECOND DESIGN CYCLE Client and Cite Map Concept Exploration Concept Exploration CHAPTER 10 INTERACTIVE PATHWAY III 128-139 THIRD DESIGN CYCLE Digital Fabrication Model 1 Digital Fabrication Model 2 Digital Fabrication Model 3 140-141 BIBLIOGRAPHY

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

3

Arch. Jorge Mario Castillo Velásquez C.E. Studies & Experience

I had taken the decision to return to the academy because, during my work experience, I realised I want to contribute more to the production of creative ideas that solve social issues regarding design and architectural matters. Moreover, I want to break architectural paradigms, think about the future, and create new ways to understand, design and create Architecture.

Currently, the world needs Architects that have great ability to adapt to new challenges; that are able to solve complex problems in an optimal way, with high quality and eco-efficient standards; that are able to work in multidisciplinary teams; and, that are at the forefront of building processes and new trends in material, process of design and aesthetics. This is part of my dream and it strengthens the decision to study this master.

2006 Courses and training in Hidraulic Pipes PAVCO 2001-2007 CIVIL ENGINNER Pontificia Universidad Javeriana

ntrolle Co r

2001-2002 DG Group Architect

10%

2002-2005 Attica Design Junior Designer 2005-2014 Attica Design Freelance 2006-2007.

Linea Attica Architect P.E.

ig s e

n

20% 70%

D

- Colombia, with professional studies in Architecture (1996-2001) and Civil Engineering (2001-2007) from the University Pontificia Universidad Javeriana in Bogotá Colombia. Although, I studied both careers, I consider myself an Architect from the bottom of my hearth. Civil Engineering has been a perfect complement because it gives me the possibility to apply my knowledge to the technical and structural development of a project, and it established the foundations to develop ideas not only functional and harmonic, but also logical and feasible.

Experience

n

I am Jorge Mario Castillo Velásquez, born in Bogota

2002 Diploma in Aesthetics “Livability Studies”

Professional Performance

Construc

1998 Escandinavian Architecture 1996-2001 ARCHITECT Pontificia Universidad Javeriana

tio

BIOGRAPHY

Types of Projects Contest Facade Design Structural Design Architecture Brand Manuals Visualization and Rendering Controller Construction and Monitoring Ephemeral Architecture in Big Areas Ephemeral Architecture Corporate Spaces Design Working Spaces Design Amusement Spaces Design Commercial Spaces Design Furniture Design House Design Urban Design

Performance by Skill Contest

Urban Design House Design

Facade Design

Corporate Spaces Design

Structural Design

Working Spaces Design

Architecture Brand Manuals

2008-2009.

I.E. Ingenieria Estructural Controller 2008-2016 Quadrante Design Leader.

2009-2017.

Play Park Architect

Amusement Spaces Design

Visualization ana Rendering

Commercial Spaces Design

Controller

Furniture Design Ephemeral Architecture Ephemeral Architecture Big Areas

Construction and Monitoring

2016.

Europark Architect 2017.

Arch-Freelance

Nowadays the architecture is merged with the computational and digital world and Flexible Modelling is the perfect beginning to start that new journey because it will give me all the necessary tools to afford any possible complex problem. In addition, this subject will help me to think in different way to analyse any issue using the new technologies and applies new way to conceptualize and desgin the Architecture.

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

5

CHAPTER 1 PATTERN 2D

“We are what we

repeatedly

do.

Excellence then, is not an act, but a habit.”

Aristotle

PATTERN 2D RHINO 2D arrangements

1 Work Flow Diagram

Command Chart 1 1-Polygon = Triangle 2-Divide = 3 Parts 3-Curve = 3 Different 4-Rotate 5-Hatch = 3 Options 6-Group Work Flow Diagram

2

6Pattern Made with Hexagons changing the pattern

8

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

3

4

7Pattern Made with Hexagons changing the pattern

5

8Pattern Made with Hexagons changing the pattern

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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PATTERN 2D RHINO 2D arrangements

9 Pattern Made with Triangles

10 Pattern Made with Triangles

11 Pattern Made with Triangles

12 Pattern Made with Triangles

13 Pattern Made with Triangles

14 Pattern Made with Triangles

15 Pattern Made with Triangles

16 Pattern Made with Triangles

17 Pattern Made with Triangles

18 Pattern Made with Triangles

19 Pattern Made with Triangles

20 Pattern Made with Triangles

copy

Scale

Scale and Copy

Rotation and Scale

Command Chart 15 1-Selection = Triangle 2-Rotate = until middle point triangle side.

3-Scale = Proporcion 1.1 4-Rotate = Again until middle point triangle side.

5-Scale = Proporcion 1.1 6-Repeat steps 4 and 5 ten times

Rotation and Scale

Rotation, Scale and Mirror

10

Rotation

Rotation

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Rotation and Scale

Copy

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Rotation, Scale and Mirror

Copy

11

CHAPTER 1 REFLECTION

Pattern more that a tool to work in something is a way to think about proccess, it is the way to think further, to think logical and algoritmically about the solution of any issue. Patterns are an important element to be used in Architecture. That geometry can be used in small elements as simples tiles and wall decorations or even in more complex structure like facade or urban surfaces. This Concept allows the Designers to create complex geometricl relation starting from a basic or simple model. The Application of this Knowlegde is vital to improve the creativity and extend the posibilities to create new shapes that answer compex relation between the user and the object.

Application pattern in wall

Application pattern in Design Buildings

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Application pattern in Design Buildings

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 2 PATTERN 3D

“Our opportunity, as designers, is to learn how to handle the

complexity,

rather than shy away from it, and to realize that the big art of design is to make complicated things simple.�

Tim Parsey

PATTERN 3D RHINO Algorithmic Design

1 Element Made with Compond

2 Element Made with Compond

by Loft

4 Element Made with Compond

by Loft

5 Element Made with Compond

by Loft and MIrror

16

6 Element Made with Compond

by Loft

8 Element Made with Compond Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

3

by Loft And Extend to point

by Loft and Rotation

9 Element Made with Compond

by Loft and MIrror

7

10 Element Made with Compond

by Loft and MIrror

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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PATTERN 3D RHINO Algorithmic Design

11 Element Made with Compond

12 Element Made with Compond

13 Element Made with Compond

14 Element Made with Compond

15 Element Made with Compond

16 Element Made with Compond

by Loft and MIrror

by Loft

by Loft and copy

Command Chart 16 1-Selection = Triangle 2-Rotate = until middle point triangle side.

3-Scale = Proporcion 1.1 4-Rotate = Again until middle point triangle side.

5-Scale = Proporcion 1.1 6-Repeat steps 4 and 5 ten times

by Loft and copy

17 Element Made with Compond

by Loft and rotation

18

18 Element Made with Compond

by Loft and rotation

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

by Loft and copy

19 Element Made with Compond

by Loft and rotation

by Loft and copy

20 Element Made with Compond

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

by Loft and rotation

19

CHAPTER 2 REFELECTION

The real life is a tridimentinal world for that reason undestand the Geomety in 3D is one of our main rol as an Architects and Designers. The Pattern in 3D has given us the opportunity to explore new worlds with different shapes and improve our creativity breaking the paradigms of “normal”. This Knowledge is practical and highly applicable to every singel act and process of design particulary in Architecture. For example application in Facades, design of roof or even creating Structure can work with both uses, support and skin.

Application Jewelry “Ring”

Application Design Roof and Building

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

21

CHAPTER 3

FLEXIBLE 2D PATTERN

“Our opportunity, as designers, is to learn how to handle the

complexity,

rather than shy away from it, and to realize that the big art of design is to make complicated things simple.�

Tim Parsey

FLEXIBLE 2D PATTERN GRASSHOPPER Parametric Design

WORK FLOW design Basic Shape

1 WORK FLOW design Basic Shape

1 Pattern Made Linear Array in a Polar array 6 times

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

2 Pattern Made Linear Array in a Polar array 6 times

3 Pattern Made Linear Array in a Polar array 6 times

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FLEXIBLE 2D PATTERN GRASSHOPPER Parametric Design

4 Pattern Made Linear Array in a

5 Pattern Made Linear Array in a

Polar array 10 times

7 Pattern Made Linear Array in a

Polar array 12 times

Polar array 12 times

8 Pattern Made Linear Array in a

9 Pattern Made Linear Array in a

10 Pattern Made Linear Array in a

11 Pattern Made Linear Array in a

12 Pattern Made Linear Array in a

13 Pattern Made Linear Array in a

14 Pattern Made Linear Array in a

15 Pattern Made Linear Array in a

Polar array 12 times

Polar array 4 times

26

Polar array 12 times

6 Pattern Made Linear Array in a

Polar array 10 times and Bend

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Polar array 4 times and Bend

Polar array 6 times and Bend using Polar Array

Polar array 4 times and Bend using Polar Array

Polar array 8 times and Bend using Polar Array

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Polar array 4 times and Bend using Polar Array

27

FLEXIBLE 2D PATTERN GRASSHOPPER Parametric Design

16 Pattern Made Linear Array in a Polar array 6 times

in a Polar array 6 times and Tapped

18 Pattern Made Linear Array in a Polar array 6 times and Bend

19 Pattern Made Linear Array in a

20 Pattern Made Linear Array in a

21 Pattern Made Linear Array in a

22 Pattern Made Linear Array in a

23 Pattern Made Linear Array in a

24 Pattern Made Linear Array in a

25 Pattern Made Linear Array in a

26 Pattern Made Linear Array in a

Polar array 6 times and Bend

Polar array 5 times

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17 Pattern Made Linear Array

Polar array 6 times and Bend

Polar array 5 times adn Bend

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Polar array 6 times and Bend

Polar array 5 times adn Bend

Polar array 6 times and Bend

Polar array 5 times adn Bend

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FLEXIBLE 2D PATTERN GRASSHOPPER Parametric Design

27 Pattern Made Linear Array in a

28 Pattern Made Linear Array in a

29 Pattern Made Linear Array in

30 Pattern Made Polar Array and

31 Pattern Made Linear Array

32 Pattern Made Polar Array and

33 Pattern Made Polar Array 90

34 Pattern Made Polar Array 90

35 Pattern Made Polar Array 360

Polar array 8 times and Polar Array

Scale

degres

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Polar array 12 times and Polar Array

degres

a Polar array 12 times, Bend and Polar Array

Scale

degres

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FLEXIBLE 2D PATTERN GRASSHOPPER Parametric Design

37 Pattern Made Polar Array and Bend

39 Pattern Made Linear array Tapped and Bend

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

38 Pattern Made Polar Array

40 Pattern Made LInear Array

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 3 REFLECTION

34

Grasshopper is a powerful software to apply parametric design in the project that need this kind of complexity. The creation of patter is more easy using parameter that with a simply click it is possible to change any pattern using different shapes, order, rotation and all the tools that Rhino have. The most interesting of grasshopper is that software is connected with the Rhino interface allowing a graphic environment easily to understand for any designer.

This creation of pattern can be used in the Fashion industry. For example in the creation of pieces of dress or even in some costumes.

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 4 COMPLEX PATTERN

COMPLEX PATTERN GRASSHOPPER Pattern Generation

1 Pattern Made with Image

2 Pattern Made with

3 Pattern Made with

4 Pattern Made with

Sampler

Image Sampler

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Image Sampler

Image Sampler

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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COMPLEX PATTERN GRASSHOPPER Pattern Generation

5 Pattern Made with Point

6 Pattern Made with Point

Atractor

8 Pattern Made with Point Atractor

12 Pattern Made with Line Atractor

40

7 Pattern Made with Point

Atractor

9 Pattern Made with Point Atractor

13 Pattern Made with Line Atractor

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Atractor

10 Pattern Made with Point

11 Pattern Made with Point

14 Pattern Made with Line

15 Pattern Made with Line

Atractor

Atractor and Polar Array

Atractor

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Atractor

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COMPLEX PATTERN GRASSHOPPER Pattern Generationv

16 Pattern Made with Filtering

18 Pattern Made with Filtering and

42

and Bend

19 Pattern Made with Filtering and

Tapper

21 Pattern Made with Filtering

17 Pattern Made with Filtering

Tapper and Polar Array

22 Pattern Made with Filtering

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

20 Pattern Made with Filtering and Bend and Polar Array

23 Pattern Made with Filtering and Bend

24 Pattern Made with Filtering and Tapper

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COMPLEX PATTERN GRASSHOPPER Pattern Generation

25 Pattern Made with Line

26 Pattern Made with Line

Atractor

28 Pattern Made with Line Atractor

Atractor and Bend

Atractor and Tapper

29 Pattern Made with Line Atractor and Tapper

30 Pattern Made with Line Atractor and Bend

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27 Pattern Made with Line

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

31 Pattern Made with Line

Atractor and Tapper and Polar Array

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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COMPLEX PATTERN GRASSHOPPER Pattern Generation

32 Pattern Made with Line

33 Pattern Made with Line

34 Pattern Made with Line

35 Pattern Made with Line

36 Pattern Made with Line

37 Pattern Made with Line

38 Pattern Made with Line

39 Pattern Made with Line

40 Pattern Made with Line

Atractor

Atractor

Atractor

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Atractor and Tapper

Atractor and Tapper

Atractor

Atractor and Bend

Atractor and Bend

Atractor

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 4 REFLECTION

The creation of pattern are a fundamental part of the architecture and nowadays that technique is used in a different ways, for example in a double skin in building allowing the manage of temperature and becoming the building in eco-efficient. Another application in related with technical issues, for example in the sound proof wall the designer can develop a new pattern that give solution at both, technical and aesthetic.

The use of this complex pattern open the opportunity to discover new ways to solve the problems giving and extra harmonic and aesthetic value to any design.

Application of one pattern as a SoundProff Wall

Application of One Pattern in the cieling of one coliseum, that pattern allow the selfsupport of the Structure

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Detail of the Surface of the Ceiling

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 5

DIGITAL FABRICATION

CHAPTER 5

DIGITAL FABRICATION DESIGEN RESPONSIVE SKIN Concept Water.

Inspiration Base on a Molecula of Water taking in consideration the angle 104.45 and the shape.

1 WORK FLOW

GRASSHOPPER

2 Basic module Extracted for a water Molecula.

6 Pattern Structure Open

3 Analys how the skin can work with that Structure

7 Pattern Structure half open

4 Creation of Basic Structure in order to make a big surface

5 Basic Structure Open

8 Pattern Structure close

9 Example of Skin in a wall.

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 5

DIGITAL FABRICATION LASER CUT First Exploration

1

4

1 Sheed of Material MDF 3mm in the laser machine

2 Different shapes ensamble with the basic module.

2 3 Complex shape made it with

the basic module Example of Shelter

4 Exploration using Origami as a flexible skin and Mdf as a Structure

5 Comnplex shape made

with basic Mdf module and Origami Paper.

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3

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 5

DIGITAL FABRICATION LASER CUT Second Exploration

1

1 Prototype General idea of the wall

2 Sheed of Material MDF 3mm in the laser machine

3 Manage of the independet

element in order to build the shape - Riguid System

2

3

4 Prototype of a flexible

modulen with special joint.

5 Ensamble of flexible Joint

6 Proposal of element with

the interactive and dinamica surface.

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5

6

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CHAPTER 5 REFLECTION

Nowadays the Technology is growing faster allowing the designers to create and amazing model regardless of any issue related with the fabrication. The knowledge of this technology open a wide range of option in the creative way and give the possibility to have and fast prototype to understand the design. The digital fabrication gives the possibility to connect all the digital world and ideas worked by any architect and designer to the real y material word.

The importance of that technology is know what it is possible and what not, but also in that field there are a wide range of option that still have not been worked and developed.

In this chapter, we discover how starting from a basic design in Grasshopper it is possible to go further and play with the technique and material in an easy and faster way to find the best solution related with our design.

1

1 Sustracting Thecnology -

Laser Cut MDF 3mm Model Mechanism move water

2 Test of bending MDF in 2

Dimention made to explore the water surface

3 Prototype of the wall model for the final project

2

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3

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CHAPTER 6

REVERSE ENGENEERING

REVERSE ENGENEERING PRECEDENT NO 1 Opening Chronometry

1

1 Opening Chronometry

2 Detail of the surface

3 Constructive process.

2

3 Information extracted for the web page http://hg-architecture.com/openingchronometry/

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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REVERSE ENGENEERING PRECEDENT NO 1 Opening Chronometry

1

1 Construction Procces

2 General View

3 Construction Process Interior Support.

2

3 Information extracted for the web page http://hg-architecture.com/openingchronometry/

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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REVERSE ENGENEERING PRECEDENT NO 1 Opening Chronometry

1

1 Process of Design

2 Detail one of the modules

3 Unroll of the surface showing all the elements.

2

3 Information extracted for the web page http://hg-architecture.com/openingchronometry/

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang Project Base on Ddoari which is a Traditional Handicraft in Korea made out of Rice straws.

Using that Concept the Ddoarinmang project looked design a shelter Through cutting-edge computational technology providing novel experience and relations between the traditional tools and the digitalcraft.

1

1 Render General View

2 Render Detail of one of the elements

3 General Model in Render 2

3 Information extracted for the web page http://hg-architecture.com/ddoarimang/

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang

1

1 Render of the Internal View 2 2 Detail of the 3D Printing model

3 Detail of the 3D Printing Model

4 3D Printer Model.

3

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4 Information extracted for the web page http://hg-architecture.com/ddoarimang/

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang Grasshopper - Workflow

3 Slection Circles from Line using Closets point to the line

8 Command Circles Diferent Z

4 Command Ramdom Reduce

9 Command Rotation YZ -25

5 Command Merge Circles

from Ramdom Reduce and Selection from line

1 Triangular Grid

2 Midlle Point Triangles sides

6 Command Set Diference and

7 Commands Boundary

Circles with command inCircle

Scale for middle point

Surface, Merge, Extrude

10 Command Catenary from End point of circles

14 Command Surphase Morph

Usinng Pattern with Bounding Box and Surface Using Deconstruct Domain

11 Command Sweep 2 Using the two Circles and Catenary

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12 Command Sweep 1 Using A circle Radius 0.15

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

13Command Merge Surface and Two Borders

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang

1Original Object

3 Random Modification

2 Random Modification

5 Pattern Modification Atraction to point related with escale

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4 Grid Modification

Holes from 125 to 0

Holes from 125 to 324

6 Pattern Modification

From Circles to Hexagons

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

Grid X from 36 to 16 Grid Y from 9 to 4

7 Pattern Modification Voronoi

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang

8 Path Modification

Concatenarian from 11.250 to 20.000

Superior Circle XZ from o to -45

Atractor point by Distance Extrude Factor 0.5

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Superior Circle from 8 to 2 Inferior Circle from 2 to 8

Superior Circle radius from 8 to 2

11 Rotation Modification

13 Extrude Modification

10 Radius Modification

9 Radius Modification

14 Extrude Modification

Distance from surface to circular pattern in the floor ans Scale

Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

12 Rotation Modification Superior Circle YZ from o to -45 Inferior Circle YZ from -25 to -45

15 Shape Modification

Move Superio Circle from 5 to 10 Twist rotatio 270 base circle

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REVERSE ENGENEERING PRECEDENT NO 2 Ddoarimang

16 Shape Modification and Grid

From Circle to Star Grid X from 36 to 72 and Y from 9 to 27

17 Shape Modification and Pattern

Move Superio Circle from 5 to 10 Twist rotatio 270 base circle

20Shape Modification

From Circle to Star

18Shape Modification and Pattern From Circle

19 Shape Modification and Pattern From Circle

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21 Shape Modification and Pattern From Circle

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CHAPTER 6 REFLECTION

The reverse engineering is an useful tool to understand the process of design of any element made by another designer, that process help to realize what was the order that the designer fallow in order to finish with this element. With that process, we can change any parameter to find another solution, find new shapes with different application or even find another solution for the same issue solved by the Designer.

In this part, we discover how to reply to logical process in Grasshopper an try with the same language or the same shape to find new designs which could or not solve the main problem. This matrix of variation for example we found new application for the same design, smaller like a vessel or even bigger as a building.

Proposal Design Vessel.

Proposal of New Biulding with a Canopy with the same aestetic language

Proposal of New Biulding with a Canopy with the same aestetic language

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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CHAPTER 7

WEEKLY CHALLENGES

Weekly Challenges GRASSHOPPER Polyhedro 1Grasshopper Script PolyHedro

2 Grasshopper Script Polyhedro + Vononoi

3 Polyhedro

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4 Polyhedro + Voronoi

5 Polyhedro + Voronoi Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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Weekly Challenges GRASSHOPPER Image Sampler 1 Grasshopper Script

2 Image Used int he Mapping

3 First Iteration on a flat surface

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4 Second Iteration on a Curve Surface

5 Trird Iteration Mapping nd Extruding Z values

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Weekly Challenges GRASSHOPPER Kangaroo Physics 1 Grasshopper Script

3 Factor of Rest Length 0.0

6 Factor of Rest Length 1.0

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4 Factor of Rest Length 0.3

7 Factor of Rest Length 1.5

5 Factor of Rest Length 0.6

8 Factor of Rest Length 2.0

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Weekly Challenges GRASSHOPPER Paneling Tools

1 Grasshopper Script

3 Surface

6 Cillinders IN the Middle

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4 Mesh Structure

5 Joint Spheres

7 Cones in the Joints

8 Merge All the Pieces

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Weekly Challenges GRASSHOPPER Weaver Bird

1 GA-01

2 GA-02

3 GA-03

4 GA-04

5 GA-05

6 GA-06

7 GA-07

8 GA-08

9 GA-09

Triangular Patter 8x8

Hexagonal Patter 8x8

Triangular Patter 30x30

Triangular Patter 15x15

Hexagonal Patter 15x15

Hexagonal Patter 30x30

• Work Made by The Studio Smart Skin in the Proyect Intermodal Pathway, Using Suerface and applying Voronoi and them refining the Mesh in Wever Bird, In addtion was use Mesh Thicnesh to 3D printer.

Circular Pattern 6x8

Triangular Rounder 6x8

pattern 6x8

10 GA-10

Voronoi Pattern 4x4

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11 GA-11

Voronoi Pattern 6x8

Triangular Rounder 15x15

pattern 15x15

12 GA-12

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Voronoi Pattern 15x15

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CHAPTER 8

INTERACTIVE PATHWAY I

Brief

INTERACTIVE PATHWAY I FIRST DESIGN CYCLE Mind Maps

• • • •

Interactive Pathway Surface of the design is aim to be kinetic It must be able to response and when people walk in The movement of the kinetic must be human friendly : walls/ceiling • For example: mimicking the behaviour and movement of water : Kinetic Movement • Storyline will go hand in hand with the path • Scale will be 1 : 4 : : 240 cm : 60 cm

Group Member: Jack \\ Khushboo \\ Jorge \\ Tria

Mind Map Brainstorm - Ideas related with the project

Mind Map Process - How the problem will be aproached

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INTERACTIVE PATHWAY I FIRST DESIGN CYCLE Client and Site Map

Our Client is RMIT University and the idea of our proposal is encourage the Student and the People who work in the university about the use and wastage of this resource.

This installation will be located in the exterior of Building 10 on Bowen Street because we want that have access for more people and the place was selected in order to have control of the element and also have a big area surrounded which will offer a better interaction with the visitor.

In addition, the area have a Structure that protect the path for strong weather condition and allow the use of diverse materials in the production on this path.

1

2

4

1 Location General Plan

2 Canopi Structure From sitting area

3 Canopi Structure Interior View 4 Canopi Structure Entrance View 5 Canopi Structure General 3D 3

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In order to start the exploration of the Interactive path the design start with the idea of a Zig-Zag path that give the user one stage of control hidden the other behind the interactive wall. In addition, it is important to clarify that the path only have one entrance and one exit making that all the user have to walk throw all the path making a comparison with a river.

The Project can be divided in 4 main parts, which are, Pattern of the interactive wall, the Mechanism that move this pattern connected by a story line that explain the importance of the water and finish with a waterfall bringing the element to the visitor’s contact.

INTERACTIVE PATHWAY I FIRST DESIGN CYCLE Concept Exploration PATTERN Circular Waves Capture the oscilation

INTERACTIVE Movement Using Mechanism Capture the move of water interact with the people

Plan First Idea of the Design and the shape

STORY LINE St-1 Water as a Resource.

St-2 Process to Collect Water.

St-3 Wastage Facts.

St-4 Consequences Facts.

St-5 Importance of Water.

EXIT Waterfall Interact with real water System to collect and reuse the water

Isometric First Idea of the Design and the shape

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INTERACTIVE PATHWAY I

1

FIRST DESIGN CYCLE Concept Exploration

2

1 Top View Interactive Path 3 2 Isometric View INneractive Path 3 Interaction Interactive path with the existing Canopy

4 Interaction Interactive path with the existing Canopy

5 Internal View of the Path

4

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CHAPTER 9

INTERACTIVE PATHWAY II

INTERACTIVE PATHWAY II

PROCESS DESIGN CYCLE

SECOND DESIGN CYCLE Process Design

• • • • •

Interactive Pathway The pathway will respond when people walk in Surface of the design is meant to be kinetic; movement must be human friendly It will mimic the behaviour and movement of water and move accordingly A storyline will go hand in hand with the path making a linear experience

INPUT

Awareness about Water Context People Movement

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PROCESS

Form Mechanism Material Digital Fabrication

OUTPUT

Responsive Kinetic Structure

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Main Components

INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Main Components

Analysis Parameters Path Design 1 Distance 2 Frame Shape 3 Sinuosity

Structure Design 1 Material 2 Strength 3 Number of Frames

Mechanisim 1 Stretch 2 Opacity 3 Printability

Skin 1 Space 2 Motors 3 Movement

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Path Design / Matrix of variations

1Grasshopper Script

1 IP-01 Path No 1

16IP-16 Path No 4

Number of frame 13 Rotation 16* Frame shape Square

Number of frame 13 Rotation 16* Frame shape Square

5

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Path Design / Matrix of variations

1 IP-01 Path No 1 Number of frame 13 Rotation 16* Frame shape Square

4 IP-04 Path No 2 Number of frame 100 Rotation 10* Frame shape Square

8 IP-08 Path No 2 Number of frame 50 Rotation 10* Frame shape Square - Scale Atractor

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5 IP-05 Path No 2 Number of frame 100 Rotation 10* Frame shape Square ( No Frame)

9 IP-09 Path No 2 Number of frame 100 Rotation 6* Frame shape Square - Scale Atractor

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2 IP-02 Path No 2 Number of frame 36 Rotation 10* Frame shape Square

6 IP-06 Path No 2 Number of frame 100 Rotation 10* Frame shape Pentagon

10 IP-10 Path No 2 Number of frame 100 Rotation 10* Frame shape Square - Scale Atractor

3 IP-03 Path No 12 Number of frame 100 Rotation 3.6* Frame shape Square

7 IP-07 Path No 2 Number of frame 50 Rotation 10* Frame shape Pentagon

11 IP-11 Path No 2

Number of frame 100 Rotation 36* Frame shape Square - Scale Atractor

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Concept Exploration

12 IP-12 Path No 3

13 IP-13 Path No 3

Number of frame 36 Rotation 10* Frame shape Pentagon - Scale Atractor

Number of frame 36 Rotation 10* Frame shape Pentagon - Scale Atractor

14 IP-14 Path No 3 Number of frame 100 Rotation 10* Frame shape Pentagon - Scale Atractor

15IP-15 Path No 4 Number of frame 13 Rotation 16* Frame shape Square - Scale Atractor

16IP-16 Path No 4 Number of frame 13 Rotation 16* Frame shape Square

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16IP-16 Path No 4 Number of frame 13 Rotation 16* Frame shape Square Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Structure Analysis

This Simulation Was made using the Plug in Scan and Solve by Jack in order to understand what is the Structure’s behaviour and what material is the most likely to use in it. As a result of this analysis in recommended to use Aluminium because it is light but at the same time it is strong enought for this purpose.

Weakest Area of Structure

Stronger Area of Structure

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INTERACTIVE PATHWAY II

Compositi on

SECOND DESIGN CYCLE Skin Exploration

Fabric Type

Nylon Spandex

Nylon Silk

Nylon Cotton

Stretch %

50%

130%

170%

Opacity %

Printability

10%

Yes (catalytic plastisol ink)

90%

Yes (catalytic plastisol ink) Yes (catalytic plastisol ink)

40%

This Simlation Was made in Kangaroo Physics by Khrushboo in order to simulate the skin movement as a water wave and undestand how could be the movement of the Pathway skin and how can interact with the users.

This Simlation Was made in Kangaroo Physics by Tria in order to simulate the skin movement as a pulled WWwater wave and undestand how could be the movement of the Pathway skin and how can interact with the users.

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Inspiration Model

INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Mechanisim Design 1 The Mechanism was design in order to understant the behaviour of the skin in contact with the rings, it was the best option to mimic the water movement with the issue of space that the project had. for this prototype the group manage, Solid Works, Laser Cut and Rhino to make the model, in addition the motor and the electrical connections.

2 1 Inspiration Model made in Laser Cut, Mechanism that mimic the water movement.

2 Mechanism Rings Made in Laser Cut MDF 3mm

3 Detail Mechanism rings and

Container Made in Laser Cut MDF 3mm

4 Detail Interaction fo the

3

mechanism and the Skin Made in Laser Cut MDF 3mm

5 Detail Final Model with Gear and motor made in Laser cut Acrilic 3mm

Final Design 4

5

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Final Design

1

1 Final Render View from the Bowen Street

2 Final Render View from the Sitting Area

2

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Jorge Mario Castillo V. - S3633669 - MDIT - RMIT University - 2018

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Concept Exploration

1

2

op Render - General Top View

2 Render - General View From Sitting Area

3 Render - General view Relation with The Existing Structure

3

4

4 Render - General Top View

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INTERACTIVE PATHWAY II SECOND DESIGN CYCLE Further Possibilities

The Pathway Project have an amazing Further possibilities in each of the four Elements of the Project: Starting by the Input, The Aim of the project can be changed The path way shape can change according to the contect and the concept to developt The structure can be change for any Shape and according to the analisys it can be applied in anothe material.

The mechanisim can be change according to the new aim and also con be applied Sensors and another technology.

The skin can be changed by Barrisol or another Fabric in order to achive the main goal of the project.

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CHAPTER 10

INTERACTIVE PATHWAY III

INTERACTIVE PATHWAY III THIRD DESIGN CYCLE Digital Fabrication

1

2

1 Model Scale 1:100 made in MDF test general Concept

2 Model Mechanisim Technique

MDF laser cut Test to manage the motor and the gears.

4

3

3 Test general Structure Technique 3D printer

4 Model Scale 1:20 Made in MDF

Laser cut in order to joint all the elements and undertand the total.

5 First try merging the mechanisim and the rotated frames, Technique Laser Cut.

6 Test the Stretch of the Fabric in the mechanisim.

7 Test of the general path scale 1:100 Technique Laser cut.

5

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INTERACTIVE PATHWAY III THIRD DESIGN CYCLE Digital Fabrication

This model was made in order to undertant the relation of the pathway to the contect and where is located, It is important for any architectural project to undertand the context and manage the different aspects and parameters that it give to the project.

1

1 Final Context Model Scale 1:100 made in Laser cut on Acrilic 3mm

2

2 Final Context Model Scale 1:100

made in Laser cut on Acrilic 3mm Detail Path

3 Final Context Model Scale 1:100

made in Laser cut on Acrilic 3mm Detail Frames and Fabric

4 Final Context Model Scale 1:100

made in Laser cut on Acrilic 3mm Detail Frames and Fabric

5 Final Context Model Scale 1:100

made in Laser cut on Acrilic 3mm Detail Path

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INTERACTIVE PATHWAY III THIRD DESIGN CYCLE Digital Fabrication

This model was meda in order to understand how the three elements Structure, Mechanisim and Skin are merge in a single project and how they work as a unique element. in addition that Scale help us to undertand the proportion and the relation with the human, because at the end the visitor will give sense to this project.

1 Final Context Model Scale 1:20 made in Laser cut on Acrilic 3mm and Cotton Fabric

2 Final Context Model Scale 1:20

made in Laser cut on Acrilic 3mm and Cotton Fabric

3 Final Context Model Scale 1:20

made in Laser cut on Acrilic 3mm and Cotton Fabric

4 Final Context Model Scale 1:20

made in Laser cut on Acrilic 3mm and Cotton Fabric

5 Final Context Model Scale 1:20

made in Laser cut on Acrilic 3mm and Cotton Fabric

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INTERACTIVE PATHWAY III THIRD DESIGN CYCLE Digital Fabrication

This model was meda in order to test the Motor and how is the relatiojn between the mechanisim and the skin, On this model had been tested different kind of fabric and different possition os the mechanisim in order to find the best proposal.

1

1 Model Mechanisim NS. Techniqu Laser cut on Acrilic 3mm General View

2 Model Mechanisim NS. Techniqu Laser cut on Acrilic 3mm Detail Interior Circle Mechanisim

2

3 Model Mechanisim NS. Techniqu

Laser cut on Acrilic 3mm General View

4 Model Mechanisim NS. Techniqu Laser cut on Acrilic 3mm Detail Surface and Mechanisim

5 Model Mechanisim NS. Techniqu Laser cut on Acrilic 3mm Detail Gears and Motor.

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CHAPTER 10

INTERACTIVE PATH - FINAL REFLECTION

The final Project of Flexible modeling help us to undertand the possibilities that have appy the concept of flexible and parametric Desing in any Project. It is vital to undertand the process of any Project and know where the paremetric design can by use to generate multiples solution for the same problem using a iterative proccess. In this Method Is fundamental to undestand what are the inputs and aknowledge the proccess in order to have and correct and accurate Output. In Addition Undertsnd the digital fabrication as a vital component of any project help to make tangible any digital model and also undertand what are the limits of each technology and when can by used and which technique are mode likely to use in a different model.

Finaly this Subject help us to undestnad the Possibilities that Rhino and Grasshopper have in the developtment of any project and also have an idea about the Severals application and plugins that this software have to solve different probllems related with design and analysis that will help us to design Complex project in an optimal way.

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BIBLIOGRAPHY Elements of Parametric Design. Woodbury, Robert., 2010

The Patterns of Architecture, Issue 6_Mark Garcia Wiley, 21 Dec. 2009

Theories of the Digital in Architecture. Routledge, Oxman, Rivka, and Robert Oxman. ,2014 Kolarevic, Branko, and Kevin Klinger, eds. Manufacturing material effects: rethinking design and making in architecture. Routledge, 2013.

The function of ornament Farshid Moussavi; Michael Kubo 2006 or The function of form Farshid Moussavi ; Daniel Lopez c2009 or The function of style Farshid Moussavi ; Marco Ciancarella editor.; Jonathan A. Scelsa editor.; Mary Crettier editor.; Kate Kilalea editor.

2014 (RMIT hard Copy)

The Articulate Surface: Ornament and Technology in Contemporary Architecture-Ben Pell Birkhäuser Basel, 5 Jul. 2010

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