Digital Design - Module 02 Semester 1, 2018 Student Name

(student number in small font size) Studio Tutor Name + Studio Number

Week Three

Reading: Kolerevic B. 2003. Architecture in the Digital Age

Kolerevic described three fundamental type of fabrication techniques in the reading. Outline the three techniques and discuss the potential of Computer Numeric Controlled fabrication with parametric modelling.

The three techniques of fabrication decribed by Kolerevic include additive, subtractive and formative. Additive fabrication involves a adding liquid polymer in thin layers and building it up to form a solid object. Subtraction is essentially the opposite, instead involving the removal of material from a solid volume using electro, maechanicallly or chemically reductive equipment, this generally requires a drill moving through the x, y and z planes to remove the solid volumetrically. Formative, on the other hand, involves using force or heat to maipulate a solid into a different 3-dimensional form. Computer Numeric Controlled Fabrication is a term that encompasses these three methods, which have been revolutionary for the design and building industry as they allow a machine to read designs as a set of instructions to quickly produce a highly accurate prototype with minimal material wastage. In the future, this technology has the potential to create forms unimaginable by humans, and construct whole buildings, entirely eliminating labour-intensive processes from the construction industry.

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Week Three

Surface Creation

The first workshop session involved creating an adjustable grid in which the panels would be formed. Using the weaverbird and lunchbox plug-ins, I was able to adjust the panelling grid and therefore the height and grouping of the panels. The top two iterations were formed using a simple pyramid to panel, and for the bottom two I experimented by manipulating these shapes to form more complex geometries

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Week Four Panels & Waffle

I chose these surfaces because they create an interesting dialogue between light and shadow inside the waffle structure. The use of attractor points distorted the shapes, making the surfaces more interesting as each panel has different proportions.

The waffle structure has a wave-like shape to it, as this creates contract between open and closed space. On one side, the structure grows more open, and on the other it becomes more closed as it grows upwards.

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Week Four

Laser Cutting

Creating the laser cut file involved unrolling each panel, creating tabs, and nesting them within a template to be cut by the machine. This process acheives prcise, clean-cut lines which improves the accuracy and speed compared to manually cutting each peice. Though the process is much easier, there is still a lot of manual work that must go into gluing the structure together, and this leaves a lot of margin for error. It was difficult to avoid gaps between the meeting corners of the panels.

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Week Five

Scripting the file on Grasshopper was a great way of producing musltiple iterations of the structure in a short space of time. This allows you to experiment much more with possible outputs for the design. This creates much more freedom within the design and allows you to continue developing and changing certain aspects of the project without having to restart.

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Week Five

Isometric

I chose this section to 3-D print because it clearly showed the pentagonal shapes of the object, and you can see-through the model to experience the tunnel-like effect of the model and the interaction between the pyramids, creating step-like elements between them. I think 3-D printing is a really effective way of presenting a project as it is tactile, and allows you to hold and view the structure in various lights and angles. However, a 3D printed file still retains a very high visual similarity to a CAD file, unlike manually- built models.

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Week Six Task 01

1.2 {80,110,150}

1.3 {90,100,150}

{0,0,0}

{150,0,12}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points

{80,101,150}

{20,56,150} {20,-18,150}

{20,-18,150}

{20,90,0} {20,56,0}

{42,-60,3}

{20,26,0}

Key

1.4 {20,-33,0}

{110,-101,150} {20, 45,140}

{35,101,150} {150,0,12}

{25,0,0}

{65,-48,0}

{Index Selection}

1.3

{0,0,0}

Grid

Task 01 Matrix {34,54,0}

{Curve Attractor}

Sphere Distribution

Evie Robinson- 876579

Paneling Grid & Attractor Point

2.3

{-15,104,0}

{34,54,0}

{-15,4,0}

{Index Selection}

2.4

{76,35,79}

{91,-93,136} {217,35,0}

2.1

{59,101,94}

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.2

2.3

2.4

{134,154,0}

{93,35,-76} {Attractor Point Location}

3.1

3.2

{Attractor Point Location}

3.3

{Point Attractor}

{Index Selection}

Sphere Transformation

Paneling

The panelled surfaces I chose to use were created with the use of point attractors and weaverbird. I found these two Grasshoper tools acheived variation in size, direction, and oppenness of the panels to reveal and hide the waffle structure at different points. {34,4,50}

{45,3,50}

3.4

3.1

{Curve Attractor}

{Random Attractor}

{Volume Gravitational Centres}

3.2

3.3

3.4

{Morph}

{Reverse Attractor}

{34,4,0}

+

{Consistent Scaling}

Design Matrix 1:5

The point attractors create variations in height of the solid, which means no form has identical proportions to another

Perforations on one face control the direction in which light can enter the volume.

Solid panels create a definitive boundary between exterior and interior. Protruding forms create interest through light and shadow.

The weaverbird perforations allow light to enter at various angles, creating a light centre and shadow towards the outside of the structure

The wave-like shape of the waffle allows the volume to grow as it extends upwards, from enclosed to open Panels are smaller at the bottom and increase in size towards the top of the volume.

A hollow waffle structure allows for the creation of an interior volume.

Exploded Axonometric 1:1 0

20

60mm

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Attra

Attra

{-15,4,150}

{80,-48,0}

{230,110,130}

{Attractor Point Location}

Key

1.4

{34,154,150}

{150,0,12}

{40,86,130

{93,35,74}

1.2

{20,86,0}

{Index Selection}

2.2

1.1

{134,104,100}

{134,54,0} {140,-48,0}

{-48, 30,0} {20,-33,0}

{35,-48,0}

{Index Selection}

2.1

{20,11,150}

Grid Manipulation

Lofts

Module 02 - Task 01

1.1

{Random Scale}

Week Six Task 02

Grid Manipulation

1.2

1.3

Key

1.4

{0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves

{34,154,150}

Grid Points {134,104,100}

Task 02 Matrix

{-15,4,150}

{134,54,0} {34,54,0}

{-15,104,0}

{34,54,0}

2.1

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.2

2.3

2.4

{59,101,94} {150,3, 150} {134,154,0} {78, 43, 60} {34,4,50} {150,0,12}

{Point Attractor}

Sphere Transformation

Evie Robinson- 876579

I chose this iteration for my boolean structure because the weaverbird mesh pyramid feature allowed me to create intersecting tunnel structures which extend outwards from a point.

{150,0,12}

{-15,4,0} {Curve Attractor}

Sphere Distribution

Module 02 - Task 02

1.1

{Curve Attractor}

{Random Attractor}

{Volume Gravitational Centres}

3.1

3.2

3.3

3.4

{Consistent Scaling}

{Morph}

{Reverse Attractor}

I liked this idea becuse light can pass through the entire structure, and changing the width of the tunnels and intersecting them created interesting pathways between the pyramids

{34,4,0}

{Random Scale}

Design Matrix 1:5

With the booleaned geometry contained mostly within the original shape the cube is still highly visible as a form.

With the weaverboard mesh pyrmid, I could acheive a variety of different widths for the cones Where the intersecting geometry interacts with adjusting the distance the surface envelopeby creates a lighter more between the forms and adjusting the curve attractor open space.

The tunnel structures intersect creting small step-like pathways between them that transfer light Points at which geometry almost touches but does not creates a feeling of uncanny heaviness to the above structure.

Intersections that do not interact with the surface envelope create heavier darker spaces.

There is a single point attractor towards the middle of one face of the cube which causes all of the The solids left behind can also be interpreted pyramids to converge into a single pathway as space. If we invert the positive and negative space it creates a stretched/pinched network of spaces. Attracting the single weaverbird feature to a single point creates intersecting tunnels for a detailed and confusing maze-like quality

Axonometric 1:1 Solid boolean using 3.2 morph itteration. 0

20

60mm

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Week Six

Final Isometric Views

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Appendix

Process

Paneling shape options

Unrolled faces with tabs

Exploded panel rows

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Appendix Process

Unrolled wafle structure for laser cutting

Iteration of laser cut section

Using Grasshopper to manipulate the grid

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Appendix

Process

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Journal module 2 evie
Journal module 2 evie
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