AIR_SKETCHBOOK 2015_SEMESTER 1_CANHUI CHEN DEREK HUYNH_640183

CONTENTS

A_CONCEPTUALISATION 5

LOFTING & STATE CAPTURE

6

TRIANGULATION ALGORITHMS

9

MESH GEOMETRY

12

TRANSFORM MENU

16

CURVE INTERSECTIONS

18

DRIFTWOOD SURFACES

20

DATA TREES

22

CULL PATTERNS

23

GRIDSHELLS

25

PATTERNING LISTS

B_DESIGN CRITERIA 28

TRIGONOMETRIC FUNCTIONS

31

FIELD FUNDAMENTALS

32

COMBINING TECHNIQUES

35

FIELD EXPRESSIONS

37

FRACTAL TETRAHEDRA

39

EVALUATING FIELDS

40

IMAGE SAMPLING

41

GRAPHING SECTION PROFILES

42

COMBINING TECHNIQUES

43

FIELD FUNDAMENTALS

44

COMBINING TECHNIQUES

45

TREE DATA MANAGEMENT

47

DRIFTWOOD FRAMES

48

CONTINUOUS PATTERNING

49

KANGAROO AND COMBINING TECHNIQUES

A CONCEPTUALISATION

LOFTING & STATE CAPTURE

Blanket-like roofing? Could be good for transitioning between public and private spaces. Openings seem inviting. Overall forms seem organic.

LOFTING + BAKING THREE CURVES

VISUALISING INTERPOLATION OF LOFTED SURFACES CONCEPTUALISATION 5

TRIANGULATION ALGORITHMS

POPULATE 2D, DELAUNAY & VORONOI

Increasing Octree resolution produces a ‘smoother’ final form

OCTREE 6 CONCEPTUALISATION

1

2 PLAN 1 SKYLIGHT 2 ENTRANCE

FRONT ELEVATION

CONCEPTUALISATION 7

Experimenting with processing Voronoi 3D with another Voronoi 3D

8 CONCEPTUALISATION

MESH GEOMETRY WELD AND MESH SMOOTH

Adjusting the smoothing level transforms geometric model into organic, more dynamic outcome

CONCEPTUALISATION 9

MESH GEOMETRY INTERPOLATE CURVE (PREVIOUS) GEODESIC

10 CONCEPTUALISATION

Increasing interpolated curve density highlights the Moire effect

CONCEPTUALISATION 11

TRANSFORM MENU CONTOUR + LOFT (RIGHT)

Lofting did not seem to match that of the tutorial this one seems too sharp and geometric. Maybe adjust loft settings?

12 CONCEPTUALISATION

Applying Dolly Zoom increases sense of depth, helping the viewer feel like they are there in the image

CONCEPTUALISATION 13

SCALING AND DISTORTING COUNTOURS

Extending from 2D distortion, I decided to use a 3D reference geometry and play with its forms. The initial iteration looks a lot more dynamic whereas the final iteration looks aggressive probably due to the sharp edges

14 CONCEPTUALISATION

BOX MORPH

CONCEPTUALISATION 15

CURVE INTERSECTIONS SUB-HEADING HERE

16 CONCEPTUALISATION

CONCEPTUALISATION 17

DRIFTWOOD SURFACES OFFSET + EXTRUSION + SPLIT SURFACE Experimented with distorting the reference curves. At some points, the loft surfaces did not appear?

18 CONCEPTUALISATION

CONCEPTUALISATION 19

DATA TREES CROSS REFERENCE

Tried to use Cross Reference on round, organic curves. The overlapping is very interesting and there is no overall pattern or repetition.

20 CONCEPTUALISATION

Interesting to see the changes in patterns of holes and overlaps between the threads joining the lines of points when I change the number of points on one line (i.e. left line: 20 points, right line: from 30 to 50 points)

CONCEPTUALISATION 21

CULL PATTERNS LIST + CULL

I thought it would be interesting to use an image with a lot of gradient definition to cull because culling makes it monotonous and textures are only created through the difference in sizes of the circles.

22 CONCEPTUALISATION

GRIDSHELLS DIVIDE + EXPLODE TREE + SHIFT + REBUILD + GEODESIC

Explored different geometric configurations and manually rotates curves to investigate differences between Grasshoperâ€™s Shift function

CONCEPTUALISATION 23

I really like the depth portrayed in this spiralwithin-spiral form

24 CONCEPTUALISATION

PATTERNING LISTS VORONOI + LIST LENGTH + SERIES + JITTER + ITEM + PARTITION + REGION UNION

Added additional offset curves by scaling the average discountinuity points of the original pattern. This creates amore fabricatable outcome

CONCEPTUALISATION 25

B DESIGN CRITERI A

TRIGONOMETRIC FUNCTIONS

TOP: SINE + POINT FROM X, Y, Z BOTTOM: SERIES + MANUAL ALGORITHM (SINE AND COS AND PHI) + CONSTRUCT POINT + CULL LIST + VORONOI 3D + BOX + INTERPOLATE CURVE

I initially used sine and cosine functions and found them to create very symmetrical outcomes so using a tan equation instead produced a more organic and interesting outcome. 28 DESIGN CRITERIA

DESIGN CRITERIA 29

TRIGONOMETRIC FUNCTIONS

PREVIOUS PAGE: SERIES + MANUAL ALGORITHM (TAN AND SINE) + CONSTRUCT POINT + CONSTRUCT DELAUNAY + EVALUATE CURVE + REPEAT LAST TWO STEPS SEVERAL TIMES + VORONOI

30 DESIGN CRITERIA

THIS PAGE: SERIES + MANUAL ALGORITHM (SINE AND COS) + CONSTRUCT POINT + CULL LIST + VORONOI + DISTANCE BETWEEN CENTRE AND POINTS + REVERSE + SCALE NU

FIELD FUNDAMENTALS POINT CHARGE + FTENSOR + DIRECTION DISPLAY

DESIGN CRITERIA 31

COMBINING TECHNIQUES

After investigating Field Fundamentals I decided to re-visit the Box-Morph technique from earlier weeks to see whether I could combine the two. I found the outcomes to be dynamic but still have a structure nature from the gridded boxes.

COMBINED TECHNIQUES INCLUDING: ‘FIELD FUNDAMENTALS’ + ‘TRANSFORM MENU’ 32 DESIGN CRITERIA

COMBINING TECHNIQUES

DESIGN CRITERIA 33

COMBINING TECHNIQUES

COMBINING TECHNIQUES INCLUDING: ‘FIELD FUNDAMENTALS’ + ‘TRIANGULATION ALGORITHMS’ + ‘VECTORS’

I’ve found Voronoi 3D to always reduce the expression of certain design intents. In this case, evidence of the Field Strength’s effect on its surroundings has been lessened because of Voronoi’s cell-creation spatiality.

34 DESIGN CRITERIA

FIELD EXPRESSIONS

SURFACE + DIVIDE DOMAIN + ISOTRIM SUBSURFACE + DECONSTRUCT BREP + EVALUATE SURFACE + EVALUATE + CIRCLE CNR + EXTRUDE + CAP + CURVE CLOSEST POINT + BOUNDS + REMAP DESIGN CRITERIA 35

FIELD EXPRESSIONS BOUNDS + REMAP + EVALUATE + INTERPOLATE CURVE + FRAMES + SQR GRID + EXTRUDE + CAP

36 DESIGN CRITERIA

FRACTAL TETRAHEDRA POLYGON + EXPRESSION + UNIT Z + EXTRUDE + CAP + DECONSTRUCT BREP + SCALE + SOLID DIFFERENCE + REPEAT LAST THREE STEPS SEVERAL TIMES

The overall forms of various ‘levels’ or ‘platforms’ reminds me a lot of today’s skyscraper designs - a combination of the old (traditionally achievable horizontal geometries) with the new (fluid, dynamic vertical forms)

DESIGN CRITERIA 37

38 DESIGN CRITERIA

EVALUATING FIELDS

I found this result to be one of the more interesting Field Line experiments. The gradual increase in line thicknesses due to the increasing density of Field Lines gave a stronger sense of contrast to the composition. The idea of fluid accumulation also reminded me of the flow of water in producing rivers.

POPULATE 2D + DIVIDE + SPIN FORCE + POINT CHARGE + MERGE FIELDS + CIRCLE + DIVIDE + FIELD LINES

DESIGN CRITERIA 39

IMAGE SAMPLING

PREVIOUS PAGE: SURFACE + SURFACE DIVIDE + IMAGE SAMPLER + EXPRESSION + CIRCLE + GRAFT + CIRCLE + EXPRESSION + UNIT Z + MOVE + GRAFT + LOFT

THIS PAGE: SURFACE + DIAMOND PANELS + DEBREP + AREA + SRF CP + IMAGE SAMPLER + EVALUATE SRF + MOVE + MERGE + DELAUNAY TRIANGULATION + WBJOIN + WBCATMULLCLARK

I decided to play around with the Spin Force’s strength and decay to refine the overall aesthetic of the towering forms. I felt the ‘right’ sense of rotation provided the model a strong sense of dynamics and movement, almost as if this was a snapshot of the model before it flew off or collapsed.

40 DESIGN CRITERIA

GRAPHING SECTION PROFILES POPULATE 2D + DIVIDE + POINT CHARGE + SPIN FORCE + MERGE FIELDS + CIRCLE + DIVIDE + FIELD LINES + RANGE + GRAPH MAPPER + POINT CHARGE + ITEM + EVALUATE FIELD + UNIT Z + MOVE + INTERPOLATE CURVE + PIPE

DESIGN CRITERIA 41

COMBINING TECHNIQUES

After many earlier attempts, I managed to finally extrude and offset curves to solids based on distances between the base objects and an external attractor. I decided to further experiment with these new abilities by applying it to a hexagonal grid, freeform surface which was another challenge in itself.

COMBINED TECHNIQUES INCLUDING: ‘GRAPH MAPPER’ + ‘CULL PATTERNS’ + ‘TRANSFORM MENU’

42 DESIGN CRITERIA

FIELD FUNDAMENTALS OPTIONAL SUB-HEADING

DESIGN CRITERIA 43

COMBINING TECHNIQUES

Playing around with the Customer Preview and Colour picker settings allowed me to emphasise specific design intents. In this case, I wanted to create a stronger sense between foreground and background by using a very light grey and a very dark grey respectively.

PREVIOUS + CURRENT PAGE: COMBINED TECHNIQUES FROM ‘TRANSFORM MENU’ + ‘CULL PATTERNS’ + GENERAL LEARNING 44 DESIGN CRITERIA

TREE DATA MANAGEMENT

SURFACE DIVIDE + RELATIVE ITEM + POLYLINE + EXPLODE + OFFSET CURVE + SIMPLIFY + LOFT

SURFACE DIVIDE + RELATIVE ITEM + POLYLINE + EXPLODE + EVALUATE CURVE + EVALUATE SURFACE + CURVE CLOSEST POINT + BOUNDS + REMAP NUMBERS + OFFSET CURVE + SIMPLIFY + LOFT

DESIGN CRITERIA 45

TREE DATA MANAGEMENT

SURFACE DIVIDE + GRAFT+ MOVE + CULL + 2 PATH MAPPERS + 2 POLYLINES + PIPE 46 DESIGN CRITERIA

DRIFTWOOD FRAMES SURFACE + DIVIDE + CURVE CP + VECTOR 2PT + CONSTRUCT PLANE + PLANE SRF + GRAFT+ BBX + PSHIFT + MOVE + 2 END PTS + PT + POLYLINE + PSHIFT + REGION UNION

Through creating my own Cull Pattern, I produced a tower with interesting hierarchal nature. It reminded me of some of OMA’s works (although they did not necessarily use parametric modelling) and their ‘hyper-rational’ approaches to ‘form follows program’.

DESIGN CRITERIA 47

CONTINUOUS PATTERNING BREP + EXPLODE + WIREFRAME + EVALUATE + AVERAGE + VECTOR 2PT + PYTHON + BEZIER SPAN + SHIFT PATH + GRAFT + UNROLL

48 DESIGN CRITERIA

KANGAROO + COMBINING TECHNIQUES EXPERIMENTING WITH OTHER CASE STUDIES - LAVA’S GREEN VOID

DESIGN CRITERIA 49

COMBINING TECHNIQUES EXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING IBA ARCHITECT’S CANTON TOWER

I found the most challenging section of the script was figuring out how to manage the data to offset the points before interpolating them into smooth curves.

50 DESIGN CRITERIA

KANGAROO + COMBINING TECHNIQUES EXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING ETH ZURICH’S PACKED PAVILION

I really like the clean joints between the circular-packed panels. It gives me the impression of a levitating structure.

DESIGN CRITERIA 51

KANGAROO EXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING

Learning about the basic Kangaroo force and anchor point components from LAVAâ€™s Green Void allowed me to apply information directly into this similar case study. 52 DESIGN CRITERIA

C DE TAILED DESIGN

DETAILED DESIGN 53

FURTHER EXPLORATION OF GEOMETRIES AND KANGAROO

54 DETAILED DESIGN

DETAILED DESIGN 55

FURTHER EXPLORATION OF GEOMETRIES AND KANGAROO

56 DETAILED DESIGN

DETAILED DESIGN 57

FURTHER EXPLORATION OF GEOMETRIES AND KANGAROO

58 DETAILED DESIGN

DETAILED DESIGN 59

FURTHER EXPLORATION OF GEOMETRIES AND KANGAROO

60 DETAILED DESIGN

DETAILED DESIGN 61