Architecture styles changes with revolution.

In this project I hypothesize what our new style will be. The column is the best way to recognize a style of architecture. Throughout every era, and new technological advancement the style of the column has evolved.

A new style for a new era. In this project the shapes that we get when optimizing the columns create an organic structure, one of which you could find in nature. I hypothesize that organic shapes will be the new style. This is because nature knows best. Nature creates what it can from it’s ready materials. Meaning it doesn’t use more than it needs. And every detail in the form of an animal serves a specific functions, while still remaining beautiful. I think we can take from this, instead of having form or function following one another, they can work simulataneously, form and function in unison.

Structural Optimization. For this portion I used the TOPOS grasshopper script and also Fusion360. TOPOS created more intricate outcomes, while Fusion360 produced on the more realistic side.

TOPOS Script:

Step 3: Ran the TOPOS script. The inputs were:

Structural Capacity: Steel

Voxel Size: .2

Simulation Run: 400 trials

Step 1:

Input the initial column form Step 2: Input the loads (red) & supports (blue)

After the simulation ran, I was able to adjust the percentage of voxels that I wanted to create the form. For most simulations I used 20% of the voxels.

Step 4: Final Product. Render and Smooth mesh

Fusion360: SInce Fusion360 is more logical than the TOPOS script. I inserted than inputs of a brige to receive more complex results.

Step 1:

Input the initial geometry (green)

Input loads, direction & magnitude (blue)

Force of gravity (yellow)

Step 2: Insert obstacle geometry to limit where the material can be added. Input the materials: Steel

Step 3:

Aftrer inputing the dimmensions of the robotic arm, run the simulation and get results

Printing Set-Up. After running the TOPOS scripts with several different inputs, I finally chose three to print. Since the columns are so tall and thin, I was unable to print the full columns. Instead, I printed a third of each one.

Column 1: Step 1:Finalized form

Column 2: Step 1:Finalized form

Column 3: Step 1:Finalized form

Step 2: Chose portion to print print print

Printing Process.

Since I did not have metal available to print in the lab, I made the decision to print anyway but in clay. Printing in clay still provided the knowledge and experience of how the robotic arm works. It is necessary to note though, that the outcomes of the prints may have differed if they were printed in metal.

Conclusion: In attempts to find a more sustainable architecture, I believe that the use of optimization and additive manufacturing will lead decrease the amount of waste on site, formwork, and tools, making this a sustainable solution. I also believe that this organic form will be one that defines the second digital turn in architecture.

Column 1:

Column 1 printed famously without any errors. The initial column was just thick enough that it could hold the weight of the clay being poured. Overall it was the most simple form that I printed, bearing the best results for printing.

Column 3:

As you can see here the clay was unable to print the small branches leading to excess clay and the need for supports while printing.

Column 3 did ultimately fail at the end toppling over before the print was complete. This was because some branches of the column were too think for the clay to print. If this was a metal print it would still be standing today. As I advace more in this project I will keep the material in mind. Although failing, I learned the most from this print.

Column 2, if it’s not obvious was my favorite print. I didn’t not believe it was going to print well. Contrary to my belief it printed beautifully. I only encountered a few errors. One being the arms failing to stop printing between paths causing random unwanted lines of clay (seen in image on the left). The other fault was the clay doubled up at the begining and end of each path causing a seam (seen in image above).

Continuum Studio: Arch 105 Summer 2018

Professor: Julie Rogers

Continuum is a shadow box project that we were given to form a basis on linework, shading, toning, and model construction. We were given an image created by Ginny Herzog from which we had to create our own line drawing inspired by her painting. In our linework we emphasized the areas of the painting we found to be intriguing. From here we created depth by shading our image. Then moved it from the 2D to 3D by making a paper cut model. After we got the 3D image we wanted we moved to our final model. The final model is made out of chip board and balsa wood, and encased in an oak frame.

Initial Artwork By Ginny Herzog

PHASE ONE: LINEWORK

PHASE TWO: SHADING