algorithmic sketchbook GEOFFREY GOERLING 698748
WEEK 1 Lofting TWO CURVES This initial set of lofted surfaces was created so as to be infinitely manipulable within the grasshopper canvas. Two parametric curves where created using five control points defined parametrically by their x, y, and Z. coordinates. These curves where then lofted. I Quickly discovered that the resulting algorithm was impractically complex compared to the relatively simple operation it was performing. Furthermore as the later iterations of the surface became more complex and control points where moved out of their initial order the algorithm became increasingly difficult to navigate. This became a barrier rather to rather than an enabler of creativity.
The form of these surfaces was inspired by consideration of how users would interact with them. The fold in later iterations was envisioned as a temporary shelter where a person could sleep. Ultimately these designs are relatively unresolved and would not be a practical sleeping space, as their curves do not closely follow the for of the human body.
THREE CURVES The algorithm governing this set of iterations was greatly simplified. The three lofted curves where created directly in the rhino workspace rather than defined parametrically. They where also manipulated there, with the grasshopper algorithm serving only to continuously update the surface produced as control points where moved. This resulted in a much more intuitive creative process.
This series of iterations where envisaged as a series of ledges which people could climb and sit on, recalling a sense of childhood adventure and freedom. The final two iterations are the best examples of this.
FOUR CURVES The use of four lofted curves allowed for much tighter control over the surface geometries produced. As points where closer together and more evenly spaces the surface behaved like it was patched rather than lofted. Therefore I found I was able to work toward a preconceived outcome, whereas the precious sets of iterations where more computational.
These surfaces where conceived of as sculptural concrete walls, whose gently undulating surfaces where intended to recall fabric in motion. Again this is clearest in the last iteration, which brings to mind billowing curtains and I consider my most beautiful lofted surface. 3
Triangulation VORONOI CELLS.
This form was created by the manual subtraction of Voronoi Cells from the geometry generated by the algorithm above. It recalls elemental geological forms and processes such as weathering, as well as the subtractive forms of Mario Botta.
DELAUNAY EDGES & PIPES This was my Zaha like, computer crashing moment of madness for the week. I find the exuberant and outlandishly arbitrary geometry that generated quite beautiful, as they evoke energy and spontaneity. The form lacks any archi tectural utility however.
This lego brick like form was by using the oct tree command to fit boxes around randomly generated points within a free form lofted surface.
DELAUNAY TERRAIN. This was an attempt to create topography using the delaunay edges command to connect randomly generated points within the same free form surface used in the oct tree process. While this resulted in an interesting vintage video game aesthetic I found it less effective than the patch command at accurately replicating surfaces
OVERLAID METABALLS. This pattern was created by overlaying metaballs generated using both square and hexagonal grids. I was intending to replicate the complex geometric patterning found in Islamic architecture, however the result falls far short of this. Further experimentation with other more overlaid grids, different offsetting of grids or other pattern generating triangulation algorithms would potentially have yielded more satisfactory results.
WEEK 2 Box Morph INTERATIONS 1 & 2 Â These first two iterations where generated using the box morph algorithm to project a loft curving in one direction onto a lofted surface generated last week. Iteration two represents the algorythm developed for iteration one pushed to its extremes of complexity. Both would need to be significantly rationalisted to become developable. While the interplay of shadows in iteration 2 is evocative it would be the more difficult of the two to build
INTERATION 3 Iteration two uses the image sampler too project Mondrains Composition in Red Blue and Yellow onto the surface. He probably wouldnt be too impressed with this as its orthoganality is distorted consequently. The image was selected for its bold blocks of colour which work well with the image sampler, and easily recongisable composition
INTERATION 4 Iteration four used the distance between each projection and a specified point to generate its height. This was probably my favourite iteration of the week due to its complex, organic form. However this, and its intersecting geometries would make it almost impossible to build in the physical world. It is also an extremely flexible iteration, with infonate variations able to be developed by simply moving the reference point.
INTERATION 5 Iteration five uses the cull algorithm to insert alternating geometries into alternating cells. This allowed the creation of two alternating strips of plywood. this iteration is the most elegent and economical of those generated and would therefore the most realistic to gevelop as a physical model. these plywood strips could be printed cut from a two dimensional sheed and then woven between poles, like a 21st century incarnation of Gotfireid Semperâ€™s woven enclosure.
INTERATION 5 For this exercise i used the smoothe mesh comand to deform a geometry developed in a previous design studio. Even using the simple jagged mesh settings the multiple cuverves of the form resulted in an extremely complex mesh with over 10,000 faces. This was neither elegant nor economical and virtually impossible to realise, or further develop algorithmically.
Mesh Triangulation INTITIAL GEOMETRY
ITERATION 1&2 These forms where generated by extracting the vertices of the origional mesh after various degrees of smoothing and using these as the basis for voronoi cells. Almost nothing of the Initial geometry is legible in the output. The process of creating the mesh and then extracing points therfore felt quite redundant when the result is indistinguishable from using randomly genreated points
This iteration simply substitutes the Voronoi trianguation algorithm for the Oct Tree. The inital geomoetry is more legible in this case as smaller boxes where formed in areas with a denser concetration of vertices and larger ones in sparsely populated areas. This created an intersting inversion of the original form, with voids where there were intitialy solids and vice versa.
ITERATION 4&5 These iterations where generated using the dalaunay triangualtion algorythm to genrerate linework from the mesh vertices after various degrees of smoothing. The gereration process of these iterations is more legible in thier final forms than any of the others. Reflecting on this exercise however i could have explored further, extracing faces or edges from the mesh generated and using them as the basis for triangualtion
WEEK 3 List patterning
SHELF 3 In this iteration I tried to parametricaly generate a shelf in the modernist language. To achieved this I placed the voronoi component upstream of the culling pattern so that only square cells where gerneated around the square grid. the culling pattern and the jitter component where then used the randomly remove half of these cells. By attaching the shuffling seed of the jitter component to a number slider i was able to retain the iterative capacity of the paramentric model without altering the base grid. furthermore i offset the rmeaining cells to give the shelves a reaistic depth rather than employing only two dimensional planes. This is relatively easy to rationalise and also provides a flexible outcome with cells of differnt sizes suited to holding a wide array of objects. 14
This Shelf employs the voronoi algorithm and a cull pattern to generate a complex patern of iregualar and asymetrical cells. While this creates visual interst it also makes this shelf the most complex to develop of all three iteations genrated, requireing the gretes number of differnet components.
INTERATION 1 Iteration one uses the Voronoi triangulation algorithm in conjunction with a culling pattern to genrate regular honeycomb cell structure, a very direct and unsophisticated form of biomimicary. The repetition of identical & symetrical cells means this shelf could be developed from a single edge and joint component and would therefore be very easy to rationalise. Conversely, the repetion of identical cells reduces its utility as they will not b of an appropriate size and shape for all objects. 15
Image Sampling Environmantal groups such as CERES often employ shocking or confronting imagery to highlight the nescesity of their cause to the public. This series of iterations uses the image sampling tool to project geometry in the likeness a barren landscape onto a surface. The projected geometry is envisaged as perforations, creating a semi transparent surface which superimpuses this desolate image on the landscape behind. Each iteration was assesed based on the following criteria: Astraction (how legible the original image is) Developability (How difficult it would be to fabricate the projected sheet) and Permability (the ratio of void to surface)
ABSTRACTION DEVELOPABILITY PERMEABILITY 16
Function controls number of perforation sizes.
ABSTRACTION DEVELOPABILITY PERMEABILITY Feild direction used to control oval rotation
INTERATION 4 ABSTRACTION DEVELOPABILITY PERMEABILITY
INTERATION 3 ABSTRACTION DEVELOPABILITY PERMEABILITY
INTERATION 3 ABSTRACTION DEVELOPABILITY PERMEABILITY Cull Values above certain brightness upstream of Metaballs.
ABSTRACTION DEVELOPABILITY PERMEABILITY
WEEK 4 Fractal Geometry This series of forms where developed using fracrtal geometry. On reflection my explorations in this feild are extremely limited. With the exception of iteration 5 all forms represent subtractive geometries, with subrtaction occuring at the vertices. It would have been intersting to experement with additive forms, or subtract form the center of each face. Each iteration will be assessed based on the following criteria: Complexity (The geometric complexity of each form) Elegence (Simplicity and Legibility of corresponding grasshopper definition). I Generally found an inverse relationship betwene the two, reflecting my limited grasshopper skills
INTERATION 4 COMPLEXITY ELEGENCE
INTERATION 1 COMPLEXITY ELEGENCE
INTERATION 3 COMPLEXITY ELEGENCE Variation of Above function
INTERATION 2 COMPLEXITY ELEGENCE Capped Solid, sliders set within solvable bounds
INTERATION 5 COMPLEXITY ELEGENCE Additive Geometry, allowed greater complexity not computing trim command.
Feild Lines This series of iterations was generated by calcualting the path of a line through a feild created by mergona a series of point charges. I feel like i did not fully explore these componentsâ€™ possibilies, as i did not experiment with linear charges or using a combination of positive and negative values. I found the forms I genrated using even basic definitions where quite evocative and so l fell into the trap of not moving beyong the scope of the tutorial material. Furthermore i found it impossible to develop a series of objective metrics with which to assess the these iterations, as they are more akin to visual art than architecture. This series of iterations therefore constitues nothing more than an expression of my own subjective aesthetic taste
INTERATION 3 25
Paneling Tools This series of iterations was created by manipulating inputs into a predefined function. After initally exploring what each inpjut did i tried to manipulate the position and strength of point attractors in concert with the ratios of the colour gradient to create repreentative images. This resulted in the feather and x shapes on the opposite page. These iterations where then assesed in terms of how Innovativeness (How greatly they difffered from the original defention and geometry)
NTP Sectioning Curves This series uses the graph mapper tool to give a section profile to the curves of last wees third feild line images, translating them from the realm of art to that of highly speculative architecture. I envisaged then resutatant curves as the primary members for a lightweight membrane structure. The results where assessed against the following criterae: COMPLEXITY (as all iterations have identical horizontal curvature, so only the complexity of vertical curvature was assessed) AREA (The aproximate usable floor area bellow each) OPENNESS (degree of openness to the elements ). ITERATION 1
COMPLEXITY AREA OPENESS
COMPLEXITY AREA OPENESS
COMPLEXITY AREA OPENESS
Further Exploration Here spheres where generated at intervals along the sectioned curves developed in the last excercise. The size of each sphere is a factor of a the strength at their center of the field used to gererate the curves. I initally hoped to use the colour gradient tool to paint each sphere depending on its Z coordinate, however as the file was already unworkable heavy i was forced to abandon this futher exploration.
Unrolling Brep In this excersise a brep, representing a hypothetical room, was runrolled so that a grid of points could be projected across its surfaces. Rather than using these points to project a sampled image across the surface i instead used them as the basis for feild lines, creating an interioir environment similar to the facade of tomas heatherwickâ€™s seed cathedral.
Week 5 Data Structures ???
Creates unique branch for each item of input data, turning a list into a tree or adding another layer of branches to an existing tree.
Condenses all items in a data tree onto a single branch, turning it into a list.
Swaps order of a two dimensional data structure, effectively flipping rows and columns.
Removes branches of a data tree common to all items.
Relative Item RMIT BUILDING 80 REVERSE ENGINEER STEP 1