Digital Fabrication 1 University of Kansas - School of Architecture, Design, and Planning
Digital Fabrication 1 Fall Semester 2016
The University of Kansas School of Architecture, Design, and Planning
Instructed By
Patrick Griffin Paola Sanguanetti-Rivas
Written and Illustrated by Patrick Griffin - 2017 Lawrence, KS
Tools and Resources
Digital Geometry
UNIT-1
Basic Parametrics
Laser Lamps - Student Work Subdivison & Diva 3DPrinted Towers - Student Work Conclusions Final Remarks
UNIT-3
Data Structure
UNIT-2
CNC Panels - Student Work
END
CONTENTS
START
Parametric Pedagogy
Parametric Pedagogy ARCH600 - Digital Fabrication 1 began in the spring of 2014 when two students proposed the class to the chair of architecture school; this was a means of expanding on the fabrication focus in the architecture school’s curriculum. Up to this point, students had access to modern tools for rapid protoyping, but no guidence or lessons on how to use them. There seemed to be a gap between the hand-craft on a studio model and the use of the CNC to produce a topography or statement piece. It was for this reason, that the class filled a void in the technical knowledge available in the curriculum, that the student-run class was approved and ultimately succeeded.
Digital Fabrication 1 - Traditional Schedule
1
2
3
4
5
Hardware
Difficulty
Med
ian
Software
Semester Progress
The original class consisted of five projects each chosen for their emphasis on different tools and the skill-set required. All projects were completed using basic modelling tools from Rhinoceros 3D; and some of the cardboard lamp projects leveraged the automation of Grasshopper, but these were rare and only simple utilizations of the tool. 1
Chocolate Bar Mold
3D Printer
2
Bitmapped Image
Laser-Cutter
3
MDF Topography
CNC Router
4
Cardboard Lamp
Laser-Cutter
5
Flatpack Chair
CNC Router
Over the period of a semester, the software would become more familiar, allowing for greater instruction. In contrast, jumping between the different hardware never made things simpler, despite using some tools twice. It was this difficulty curve, and the goal of further utilizing Grasshopper, that eventually lead to the syllabus being re-developed.
Ho
pe fu l
ly
No
Er
ro r
s. ..
Automation & Repetitive Tasks
Runs Script
Repeatable Solution
Time Spent
Writes a script to automate process
Simplicity is faster than complicated workflow
m ra
n-
pr
og
Manual Modeling
no
pr
og
ra
m
er
er
Gets Bored
Progress (Task-Size)
With the fall of 2016, it was time for a revamp of the Digital Fabrication 1 course. The previous iterations had proved a strong learning experience, however it became the new goal of the class to demonstrate the full extent to which the tools could be utilized. While traditional digital modeling has advantages when paired with digital fabrication methods, it did not take complete advantage of the machines’ capabilites. Algoirthmic tools, and their ability to generate geometry that would take extreme amounts of time to model without automation, presented themselves as a potential new direction for the class. Complex latice structures, or smooth undulating surfaces would take less time to model with these new tools, but also be more precise without human mis-calculation. Furthermore, this knowledge of grasshopper (parametric tool of choice) would also serve as background for KUKA operation if students elected to pursue research later.
Digital Fabrication 1 - Revamped Schedule
1
2
3
Difficulty
Software
Median
Hardware
Semester Progress
The task then became the introduction of three new tools and a complicated way of thinking wrapped in a new user interphase all in one semester. Due to this challenge, we reduced the number of projects down to a single, indepth use of each tool allowing for the testing of the upper limits of what could be achieved with the chosen method of fabrication. 1
Plywood Panel
CNC Router
2
Cardboard Lamp
Laser-Cutter
3
Plastic Tower
3D Printer
Initially, the software would be much more difficult than Rhinocerous 5.0, simply due to the nature of its interphase. Grasshopper is a visual scripting language, therefore, as the UI became better understood, a second challenge of thinking as a “programmer� would present itself to the students. This remains as difficult as one choses it to be, leading to a much greater ability to experiment during the course and with other tools thereafter.
Tools and Resources It is important at this point to describe the resources available to students, as to better understand the outcome of each assignment and the workflow associated with actually producing it on the machines. Marvin Hall has been around since 1903, the tools students use have changed dramatically during the different phases of the last century which can mostly be attributed to the advent of the computer and information systems. Interestingly, the reason for using these tools has stayed very-much the same: to build high quality, precise representations of ideas at a specific scale, or test and mock up complete installations and parts at full scale.
It is important at this point to describe the resources available to students, as to better understand the outcome of each assignment and the workflow associated with actually producing it on the machines. Marvin Hall has been around since 1903, the tools students use have changed dramatically during the different phases of the last century which can mostly be attributed to the advent of the computer and information systems. Interestingly, the reason for using these tools has stayed very-much the same: to build high quality, precise representations of ideas at a specific scale, or test and mock up complete installations and parts at full scale.
Marvin Hall - Woodshop
Marvin Hall - Metals Shop
East Hills - Warehouse & Designbuild Space
Woodshop - Traditional Fabrication Table saws, belt sanders, badsaws, hand tools, welding, grinders, and all other methods of hand-craft take place in the woodshop. The University of Kansas places particular importance on the act of making, it is integrated almost everywhere in the architecture school’s pedegogy. As a leader in designbuild educaton, the school is home to several woodshops as well as a complete warehouse facility for full-scale prefabrication and home-building. The hand-craft shops are supervised by students who are managed by two fulltime trained employees. This is an important factor in how the dynamic works within the school; in essence working for the shop is a way to continue one’s education in phyical construciton until a student matriculates into the Dirt Works Studio, Studio_804, or any of the other full-time designbuild classes.
CNC Router
Laser-Cutter
3D Printers
Digital Tools - Modern Fabrication Most indermediate or beginner students in the program use these tools because their high-quality output requires less trained skill than in a traditional woodshop; then they use the woodshop’s tools to finish the model to even higher quality or prep the stock for machining. These tools form the basis of the class, teaching students to use them in a more comprehensive manner than the ad-hoc occasional usage they typically get. The CNC takes the greatest level of skill to operate, and the more complicated the model, the loger the machine runs; for this reason it was used for the first project. The lasercutter is less complicated, and contouring a model into layers that are properly coordinated is an intermediate-level grasshopper task. 3D-Printers are very easy to use, however to take full advantage of their abilities it made sense to leave them until the end of the course when students could model complex geometries quickly and efficiently.
CNC Router sanding down final parallel finish ridges removing bridges holding a shape in center of stock gluing delaminated islands or isolated parts re-cutting edges to square or alligning glued material
This design has a ver y topographical quality, mimicking the hills and valleys often found in nature.
Laser-Cutter Assembly of parts with glue or putting it together Cutting through incomplete or partial paths Cleaning burn marks or sap residue Removing covers/coatings individual parts 3D Printer Raft/Support structure removal Optional finish sanding or acentone bath for smoothing or stronger joints Removal of random excess artifacts from extruder feed irregularities or filament bubbles
For smaller-scale precision modeling and for use in rapid-prototyping, modern digital tools are unparalleled in their ability to take concept models from the computer to reality. Oftentimes there is a misconception that these tools produce finished quality work or that something can be taken directly off of machine into a presentation; this is not true. As detailed to the left, the modern methods of fabrication do not replace traditional tools completely, and require finishing after the toolpaths have been completed.
Robotics Lab - Fabrication Research Eventually some begin to push the boundaries of what is known, and no one is left to anwser the questions that are being asked; this is the general thesis of what happens in the robotics lab. This space is for students who push what the machines and known methods of making are capable of, and gradually move into the unknown. Due to the overhead knowledge that is essentially an unstated prequisite for usage, the robots are generally used and operated by older students who are veterans in the other two methods of making. ARCH600 - Digital Fabrication 2 attempts to pipeline students from the CNC, Laser, and 3D-printers into KUKA operation. Its existence was one of the main reasons the re-formatting and shift into a parametric pedegogy took place. The robots are driven by planes generated in grasshopper. Familiarity with this software and process allow for students to do more with them.
Finishing & Assembly
Material Preparation Craftshop
Custom Parts
DigiFab Labs
Wood Shop -Saws/Cutting -Sanding/Plaining
CNC-router -Roughing -Finishing
Metals Shop -Welding/Cutting
Laser-Cutter -Cutting, Etching
Hand Tools -Anything Else
3D-Printers -Rapid Protoyping
Robotics Lab Robot Arms: Hotwire Cutting -Foam 6 Axis Milling -Wood 6 Axis Printing -Concrete -Clay
In summary, tools are broken up into three major categories based on the work the produce and what they are used for. The DigiFab tools have existed in the school for a couple decades, and this class attempts to make full use of them. Furthermore the intention is that the coursework would provide better preparation for students wishing to do research and push the boundaries on what is typically done within the school. The ability for a student to do this lies within a basic understanding of parametrics, which then allows for them to model more complex geometries, generate relationshipbased fuctions between elements for rapiditterations, and then completely utilize the advantages presented by these tools for truly rapid prototyping.
UNIT - 1
Ve
Op
le iab ion t es oc
etr y
Pr
om
Faster Itterations
sin
Ge
g
iza
Parametric Design
rif
tim
Re Com lat pl ion ex sh ips
Mathematics
Basic Parametrics Parametrics are a difficult thing to teach to 20 students of different backgrounds and levels in school. It relies on three underlying ideas as well as a significant up-front investment of background knowledge. The first of these is a reasonable ability to use a computer, and understand what it is doing. This is not to say one needs to know C++ or any other coding language, but truly understanding a file system or where program files are located in an Operating System is a necessary starting point. The second idea which is crucial to parametrics is understanding basic math, and what a function or algorithm does. Something is put in, a series of operations occur, then there is a result on the other side.
Input
Analysis
Surface
Subdivide
Define the size of the stock (material) for milling (CNC) Point Pick location of interraction or evaluation
Create grid of points across defined area
Distance Calculate distance between new points on surface and input point
Relationship
Sine Wave Create graph of sinusoidal function, set frequency
The relationship between inputs and outputs is the bedrock which can be built on top of by the third skill - geometry. Geometry is to parametrics what color is in an artist’s pallete; knowing what parts of something can be broken down or mixed together to achieve a certain result is how one moves from one side of a given problem to the other.
Function 1
Function 2
Product
Map Points
Move Points
Rebuild
Use distance to determine placement on wave-pattern
Move all points in Z-Axis based on its point on the wave
Create surface through new point locations, go relax
Points
Edges
Faces
Surface
Solid
Digital Geometry After developing a grasp on the concept and execution of parametric relationships, it was important to further develop an understanding of how shapes in a computer are made. This was an attempt to build on common knowledge - what the parts of a given object were, how to augment them, and boolean operation outcomes - to get everyone up to speed. Baisc ideas were then compounded with new or clarifying information - what a Nurbs Surface was, rather than a Mesh, how the boolean commands work, and what the various error messages mean - to solidify the building blocks with which one would later be using in Grasshopper.
Boolean Operations
Union
Intersection
Difference
Split
One of the more challenging aspects of this, however, was moving away from the preconcieved ideas students had through use of computer software, and into the domain where proper theory could take place. Oftentimes, it took a quick look back at concepts of pre-caulculus to form a proper analogy or explain a situation; for example, non-manifold edge error messages can be explained using the concept of limits apporaching an asymtote to create an understanding of the calculations the computer is doing. Understanding the error messages acted as a litmus test for moving forward. Once common knowledge of Nurbs geometry was handled, it made sense to begin to contrast these properties and characteristics with Meshes and how they behave. In the beginning students often had a hard time distiguishing between the two types, attempting to perform boolean operations with Meshes, however, this was quickly overcome.
NURBS
equation driven + control points
infinitely refinable
Smooth
Mesh
verticies and faces
finite resolution
Faceted
Though the course did not cover any situations where Meshes were widely used, it did go into light detail on when the differeny types of geometry would present an advantage. Students were shown how to augment Nurbs surfaces and other geometry through control-point manipulation, and a demonstration was given on how to go back and forth between Nurbs and Mesh typologies. In essence the message of the class was that Nurbs modeling is more precise and works best for common or simple geometry so the computer does not try to make a great number of calculations on a complex shape, or repetitive shapes in large quantities. Therefore Meshes were the answer to complex organic systems where the Nurbs equivalent would be too much for the computer to process, or the algorimically smoothed equivalent was good enough for visualization and modeling.
Student Work
UNIT - 1
Weeks 1-8
CN C A SSIGNM ENT
DIG ITAL FA B R I C AT IO N
I nspir a tio n D esigning E x plo r a tio n M a k ing a nd A sse mb l y F ina l Tho ughts
DA NIELLE L ATZA
M . A RC H | 4TH YE A R
“...we take comfort in the symmetries we find in life because they suggest a design where there is none.”
–Nicole Krauss
A natural phenonemon that I find intriguing is radial symmetr y. I appreciate the precise symmetr y that Grasshopper can produce, so I decided to combine these as the basis for my project. I made a crater in the center of my project and surrounded it with smaller waves, resembling a volcano with surrounding formations of hardened lava.
We started with a base group of Grasshopper components that would actually produce a surface. I chose how many parts I wanted to divide my surface into, then using the graph tool I decided how I wanted the points on my surface to move. After exploring a few different options, I came up with my final design.
Trial of a triangulated surface
Trial of a hexagonal cellular surface
Trial of Sine cur ve
Trial of extreme Perlin cur ve (too tall to cut)
BAKED SURFACE This is the representation of what my project would look like after cutting. My intention was to make the deepest point of the crater and the tallest corner wave edges stretch to the 3 inch height requirement WAVES As the CNC drill moved over the stock, ridges were created along the waves of my design. These ridges show how the machine functions in a 3D way
CRATER The deepest point of my project is the crater in the middle of my design. The slope of the waves steepen at this point as well as at the corners of my project, creating an interesting line pattern in the wood
FINAL THOUGHTS Despite being confused most of the time, I thought this project was an interesting way to be introduced to Grasshopper. I would have liked to make my project a little more dynamic, but between time constraints and CNC availability, I decided a simpler design would be more practical. I do think there is beauty in my project’s simplicity. My final product shows that this was my first use of a highly complex program and leaves room for future progress.
CNC
D I G I TA L FA B R I C AT I O N : PA N E L
In sp i ra t i on D e si g n M oc k u p a n d Te st i n g M a k i n g a n d A sse m b l y F i n a l O ve r vi e w a n d D e t ai l s F i n a l Th ou g h t s
M O NIC A M ONG
4 TH Y R / M- ARCH
“Architecture is the ver y mirror of life. You only have to cast your eyes on buildings to feel the presence of the past, the spirit of a place; they are the reflection of society.”
–I.M. Pei
As the design came together, it began to resemble a little city. It is easy to imagine each block as its own building. The variation in height and distribution throughout the piece evokes a sense of refined natural growth and spread.
a)
b)
c)
d)
e)
f)
a) Set up a randomly assigned attractor point grid on a 2-D surface. b) Program the heights of each box to either increase or decrease according to their proximity to the attractor point. c) Create the moldable 3-D surface in Rhino. d) Change the number sliders to achieve desired 3-D effect. e) Bake final 3-D surface in Rhino. f ) Final MDF panel.
4 Attractor Points
9 Attractor Points
12 Attractor Points
15 Attractor Points (selected script)
32 Attractor Points
64 Attractor Points
GLUE UP Six 20 x 20 inch mdf boards were glued together and clamped overnight in the shop. The edges of the 3 inch thick glue up was then sanded down and then cut down to the 18 x 18 inch script size. CNC MACHINE The cut ran for 9.5 hours. Typically there is a rough pass and a parallel finishing pass, but for this script a 9 inch flat head drill bit was used to cut the entire project in order to better create the crisp, sharp edges of the modeled script. FINISHED PRODUCT The depth of the script is really visible here. The cut utilizes all 3 inches of the stacked MDF panel height. The glue up proved to be successful as none of the pieces came off.
The attractor points are the deepest spots on the piece; these points seem to ser ve as courtyard spaces. The city then builds up higher and higher around it.
The courtyards that emerge in the design seem to reveal neighborhoods within the piece. The soft variations between each courtyard seduces one to explore beyond their own space.
FINAL THOUGHTS Coming into this course, I have had no prior experience with Rhino, Grasshopper, and the CNC machine. I was surprised to find out how long it takes to for the entire process to happen between the computer modeling, the glue up, and waiting for a successful CNC appointment. My original appointment grossly underestimated the time it would take; final cut ran for 9.5 hours.The CNC was tailored to better create the sharp edges of my modeled design. Overall, I am ver y pleased with how it turned out.
D IG I TA L R A I N
Arc h 6 0 0 - Di g i tal Fab r i cati on
In spira t io n for Project D e sign in g the Project F in a l: O v er v ie w and Details F in a l T h o u gh t s/ c lo si ng Remarks
Qu e n t i n R a b u
In s p i ra t i o n f o r P ro je c t
“Our eyes are made to see forms in light. Cubes, cones, spheres or the pyramids are the great primar y forms that light and shadows reveal well. The image is clear to us, tangible. That is why they are beautiful forms, the most beautiful forms ”
–Le Corbusier
My surface has been inspired by the work of Srozyk Elisa. The production of the german artist conveys a new tactile experience. If we are used to experience wood as a hard material, her wooden surfaces can be manipulated by touch.
D e s ig n i n g t h e P ro jec t
D e s ig n i n g t h e P ro jec t
Populate 2D
Voronoi
Random list item
Move polygone centers
Delaunay mesh
Final form
F i na l: Ov e r v i e w a n d D e t a ils
GREY LINES When we look at the surface, we can notice some grey lines in the pyramids. These unexpected lines are traces of glue, and it bring something intersting for the project.
DUNES At some angle, the surface looks like the dunes in the desert or the top of pyramids buried in the sand. It reminds me some Egyptian landscapes.
MDF I have chosen to use MDF and not plywood for this project. I think it’s easier to read this kind of geometric project with. Plywood is better used with cur ves.
CLOSING REMARKS
This project has been for me a first approach of the parametric design. It made me start to think of grasshopper as a powerfull tool of conception. As a french student, my formation in architecture was focused in simple forms, and this exercice let me discover new possibilities. If I had to redo my surface, I would like to impose a minimum heigh to the pyramids for going up and down, so the surface would seem more dynamic.
UNIT - 2
List 1
List 1 (flipped)
0 - branch 1 0;0 - item “A” 0;1 - item “B” 0;2 - item “C” 0;3 - item “D” 1 - branch 2 1;0 - item “E” 1;1 - item “F” 1;2 - item “G” 1;3 - item “H”
0 - branch 1 0;0 - item “A” 0;1 - item “E” Flip Matrix
1 - branch 2 1;0 - item “B” 1;1 - item “F” 2 - branch 3 2;0 - item “C” 2;1 - item “G” 3 - branch 4 3;0 - item “D” 3;1 - item “H”
Data Structure Students can create strings of blocks that do clear and intentional jobs quickly at this point in the class. Slowly, the challenge of making indivdual operators perform the same task on multiple data sets presents itself. To be clear, the scripts at this point are not truly parametric, and require user input to automate things that would take time by hand. In order to move into a state where one could simply change the input size and a script would re-generate itself takes a more intimate knowledge of the innerworkings of scripting. It is at this point when data structure becomes essential to students as a knowledge base to help them manage their lists and reduce clutter in a visual scripting language canvas.
0 - List 1
Flatten
0;0 - item “A” 0;1 - item “B” 0;2 - item “C” 0;3 - item “D”
0 - List 1 (Flattened) 0 - item “A” 1 - item “B” 2 - item “C” 3 - item “D”
Graft
0 - List 1 (Grafted) 0;0;0 - item “A” 0;0;1 - item “B” 0;0;2 - item “C” 0;0;3 - item “D”
Reverse
0 - List 1 (Reversed) 0;0 - item “D” 0;1 - item “C” 0;2 - item “B” 0;3 - item “A”
The idea that a computer calls the first item in a list “0� is fairly easy to grasp; it can take practice to remember or use properly. What can be truly challenging to students is the idea of a data trees and how to properly manipulate them in order to return the desired result. Rather than addressing this head on, it was much simpler to describe the native ways to augment lists (flatten, simplify, graft, reverse) and then move into dispatch and cull patterns, followed by weaving, and merging operatiors.
Flatten
Deconstructs all branches into one list containing every item sequentially.
Graft
Constructs a new branch for every item in a given list while preserving existing branches.
Reverse
Reverses items in a tree relative to each list the items are contained within.
Simplify
Removes excess branches that do not help to further organize items.
0 - branch 1
1 - branch 2 1;0 - item “E” 1;1 - item “F” 1;2 - item “G” 1;3 - item “H” True (1) False (0)
0 - List 1 List Pattern
Dispatch
0;0 - item “A” 0;1 - item “B” 0;2 - item “C” 0;3 - item “D”
A B
0;0 - item “B” 0;1 - item “D” 0;2 - item “F” 0;3 - item “H”
1 - List 2 1;0 - item “A” 1;1 - item “C” 1;2 - item “E” 1;3 - item “G”
Dispatching, splitting, and trimming lists or trees of data proved to be a simple concept for most, it was acquired within a few weeks of introduction; weaving, merging, and entwining data similarly was quickly picked up. Where problems arose, was being able to match one data-tree to another or rebuild an existing tree. These problems were difficult because the were often very contextual or situational in nature; no individual had the same issues as another, their projects were each of a different scope. In the end, the data structure was a means to facilitate the exporting of layers for the lasercutter, and not something that was entirely necessary to the process, so students could move the curves into the outline of their stock material by hand if they could not figure out the data problem. Most figured out the process, some however, struggled to find a solution requiring a couple hours outside the classroom and simplificaiton to their form.
Student Work
UNIT - 2
Weeks 9-12
THE ROSE THREE DIMENSIONAL
A RC H 6 0 0 / DI G I TA L FA BRI CATI ON
Inspiration for Project Designing the Project Mockup Making and Assembly Final: Over view and Details Final Thoughts/ closing Remarks
Du p les s i s So l e ne
Fa l l 2 0 1 6 / I NTE R NATI ONA L S TUDE NT
“ What appeals to me is the free and sensuous cur ve”
– Oscar Niemeyer
INSPIRATIONS FOR PROJECT-THE MOVEMENT OF THE ROSE I have been inspired by the movement of the petals of the rose which twist on each other. I
tried
to
freeze
movement that
this
promote
areas of light and shadow. Thus, it gives an impression of Whirlwind and increasing a sense of floating.
DESIGNING THE PROJECT
- MOCKUP
- TOP VIEW
- PERSPECTIVE VIEW
PROCESS - GRASSHOPPER 1.a 2 1.b
4
3
1. a. CREATE CURVES OUTSIDE OF THE SHAPE 1. b. CREATE CURVES INSIDE OF THE SHAPE
2. LOFT TOOL - GENERATE A WHOLE SHAPE FROM THE CURVES 3. MULTIPLY THE NUMBER OF CONTOUR - 0.125 4. GENERATE THE CONTOUR
PROCESS - RHINO
CURVES
CONTOUR GENERATED BY
DIMENSION OF THE
THE CURVES
OUTLINE
MAKING - A LIGHT L AYER BY L AYER
- STEP IN RHINO
1
1. RIGHT VIEW - MOVE EACH LAYER 2. TOP VIEW - ALL THE LAYERS (36) 2 3. WRITE THE NUMBER OF THE SLICE AND A LINE TO FACILITATE THE MOUNTING
THE NUMBER
3
ETCHING THE LINE
- STEP IN AUTOCAD 1. DRAW THE SHAPE OF THE PIECES OF CORRUGATED CARDBOARD - 31 X 17.5 (SIZE OF THE BED OF THE LASER CUT) 2. PUT EACH LAYER ON THE
RECTANGLE
CARDBOARD 3. EXPORT YOUR FILE READY TO BE CUT
OF
1
- STEP WITH THE LASER CUT 1.
SETTINGS
FOR
THE
CARDBOARD 2
2. LASER SETTINGS -
SKIP
EVERY
COLOR
BESIDES RED AND BLUE - RED FOR CUTTING - BLUE FOR ETCHING 3. VIEW ON PIECES 3
CORRUGATED CARDBOARD
1/8’’
- METHOD I began by arranging the layers starting with the base of the lamp. Then, I glued on each slice 4 rectangles of cardboard in order to space each layer of each other.
FINAL - OVERVIEW AND DETAILS
AREA TO HOLD THE LAMP I thought to make a space to put the bulb so that it is retained.
MOVEMENT OF THE ROSE I wanted to see the movement of the petals of the rose which twist on each other. This movement is increased by the light throwing gradually.
THE LAYERS ARE NOT GLUE TOGETHER We can see the differents lines of the layers. Each layer measure 1/8’’. I chose to remove one layer in two so that the lamp is kind of see-through.
RECTANGLES OF CARDBOARD These rectangles of cardboard allow to space the layers between them and let the light pass through. They are always in the same place.
FINAL THOUGHTS
THE ESSENCE OF A LAMP - LET THE LIGHT PASS THROUGH To my mind, for this project, the main step is making and assembly. I had to be careful when I drew the line and the number on each piece to facilitate the mounting. What happened to me is that the laser cut didn’t etch properly each drawing line, so when I tried for the first time to put all the pieces together, my lamp didn’t twist as it should be and I was lost. There, It is necessar y to think of the process of assembly. I mean find techniques of assembling between the layers in order to let the light pass through with rectangles of cardboard for example and remove one layer in two.
M O B IU S L A M P
Di g i t a l Fa b r i c a t i o n / Lase r Cut Lamp
I n s p i rraa t io n De D e s i gn A s s e mbly As De D e t a ils Ovv e r vview O iew FFii n a l T h o u gh t s
P E N N I E LI U
4th year / M.ARCH
“ ” – August Ferdinand
Möbius & Johann Benedict Listing, 1858
I N S P I R AT I O N I was inspired by the mathematical
form of a mobius, which is essentially
a one-edged, ruled surface that is nonorientable. What is interesting about
the mobius strip is that it only has one boundar y. What caught my eye was the balance between the simplicity and the complexity of this shape.
A ver y simple shape is rotated along and around a circle, then continuously lofted
DESIGN
layers layout
laser cutting
laying out the pieces
glueing
A S S E MB LY
lining up layers
assemble top and bottom seperately
glue together
final
This design has a ver y topographical quality, mimicking the hills and valleys often found in nature.
D E TA I LS Simple shapes layered on top of each other at just the right position create a dynamic and flowing whole.
The layers of cardboard create interesting moments of shadow and light, convex and concave surfaces, cur ves and edges that mimic topographical forms.
Even though the layers create a choppy surface up close, from far away it looks like smooth, continuous surfaces.
OV E R V I E W
This lamps looks
different from ever y angle. Sometimes you see the light, and sometimes not. Ever y way you look at it, it offers a new form, a different shape, and a dynamic structure.
CLOSING REMARKS This piece was sculptural from the beginning, so it naturally feels more like a stand-alone object than as part of a lamp. However, the forms and corrugation of the cardboard create an interesting play on light and reflects the design simplicity but with visual complexity. It was a challenging project especially in assembly, but it was
worthwhile and successful overall. If I were to do it again, I would thin out the walls and perhaps hollow out the solid areas to reduce weight.
T W I N S ( 4 in 1 )
Di g i t a l Fa b r i c a t i o n - A ssi gnme nt 2 INSPIRATION DESIGN MAK ING ASSEMBLY OVERVIEW DETAILS CLOSING REMARK S
TO M U SEO
2 0 1 6 / St u d e n t A broad
“ The decomposition is an avid art or the time is past master. Creation and destructrion are twins, as formerly were twins love and justice. ”
– Henry Miller
I NSPIRAT ION During a visit to the Cooper Hewitt in New York. I decided to draw inspiration from different lumiescente sculptures. This idea that we can change the light with a twist of matter and its various layer that has made me interested.
WEIVREVO
1-
Draw
3
polylign
and
“set
on
cur ve”
by
grasshopper.
2- Use the component “Loft” for create an surface and Bake the model to fix it. 3- Use the component “Contour ” and choose a tickness to define plan. 4-
Have
strata
on
plan
even
for
save
in
“dwg”
TRANSPARENCY
OPACITY
STRATA
CLOSING REMARKS To conclude this work with cardboard and divide a basic model in four allowed me to achieve my goal. The idea that this lamp can be adapted so as a support a suspension is for me a success. I was pleasantly surprised by the different properties of this board and I just hope he does not will burn
UNIT - 3
Subdivision Tools Unit 3 was the most critial milestone for student work, and the most difficult to do properly; had students not paid attention in the previous projects and idly drifted through, it would be nearly impossible for them to complete. It was in essence, a litimus test, to see if the pedagogy had succeeded and students had learned the complex software skills from the previous two lessons. The hardware and material constraints for this project were at the lowest possible level: hit print on a makerbot, and make sure that the parts fit together. The software resposiblilites, however, were maxed out to the highest level of difficulty: the final shape needs to be a water-tight and geometrically complex solid.
The important part, a “geometrically complex� solid, had specific application in an architecture class. This meant during the unit students would demonstrate an aggregation of the skills they had learned and apply them to a building typology: a high-rise, or tower of sorts. To do this, the shape needed some architectural characteristics. Dynamic Form Most importantly, the goal of the project was to develop a shape that was driven by parameters and demonstrated thought. Structure or Pannelization On top of a dynamic form, students were asked to pannelize, or develop the surfaces into intentional flat faces that could be made. Floor Slabs By contouring whatever form they designed, offsetting those contours, and extruding them, it was expected that levels would be apparent.
DIVA - Daylighting Analysis Finally, students were shown how to use plugins for grasshopper such as Diva, Ladybug, or honeybee, and tested their forms for solar exposure. Rather than a second-hand explaination, here is the software description from their website: “DIVA is a highly optimized daylighting and energy modeling plug-in for the Rhinoceros - NURBS modeler. The plug-in was initially developed at the Graduate School of Design at Harvard University and is now distributed and developed by Solemma. DIVA allows users to carry out a series of environmental performance evaluations of individual buildings and urban landscapes including Radiation Maps, Photorealistic Renderings, Climate-Based Daylighting Metrics, Annual and Individual Time Step Glare Analysis, LEED and CHPS Daylighting Compliance, and Single Thermal Zone Energy and Load Calculations.�
Student Work
UNIT - 3
Weeks 13-16
A S S I GNME NT 3 - 3D PR IN TED TOW ER A RC H 6 0 0 / DI G I TAL FAB R I C AT I O N
I n s pi rat i on for Proj ect D e s i gni n g t he Proj e ct M oc kup a n d Te st i n g M a ki ng a nd A s s e mbly Fi na l : O ve r vi ew a nd Details Fi na l T hou ght s / c l osing Remarks
F l o ri ane M AL F RO I D T H O M A S 2 0 1 6 / E xc ha nge stude nt
“Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.”
– Toyo Ito
My inspiration for this project was the Sendai Library in Japan by the architect Toyo Ito. I wanted to have several floors helled by big poles made out of pipes inside. I realized that it was impossible to make such a fragile thing with a 3D printed so I decided to still use a piped structure but on the outside of the building.
1. Rendered view of the
1
2
tower 2. Tower before baking the model in Rhino 3. Top view of the Tower and the base 4. General grasshopper script (tower on the top, base on the bottom)
3
4
B
A C
E D
GRASSHOPPER SCRIPT FOR THE TOWER A. First part, to make the floors, change the scale and rotate them B. Creating the diamond grid and then piping it C. Extrusion of the floors D. Making a solid inside able to hold the tower (offset and extrude) E. Closing the geometries with cap holes
I opened the file on the Taz printed software Cura in order to scale it, position it and convert it into a file understandable by the 3D printer.
The lab monitor applied a mix of plastic and acetone on the bed of the 3D printed to prevent my model from sticking to it.
Before printing I asked to change the color of the wire from orange to white. For this model I used ABS type of plastic.
FIRST ATTEMPT
Print starting from the bottom with the joints
1 st Print after 2 hours
Result of the first print
SECOND ATTEMPT
Print starting from the top of the tower (I flipped the tower so that the joints will be printed better)
2 nd Print after about 4 hours
Result of the second print
I was the fist to print my
1
2
model, it was a 10 hour printing and I had to let it finish over night. On the morning I saw that my 3D model had a problem just at the end (picture 1). All of our architecture models were too tall so at the end the head of the printed was going to high and bumped into the wire. For my next print the wire was placed on the side of the printer as the can see on picture 3 and everything went well.
3
For this tower, since we could not print the base with the 3D printed i chose to laser cut my base. I used my base file from project 1 in order to create a topography, then as we learned from project 2 i used the .... on grasshopper to create layer. After that i baked my file and put it flat on rhino, then converted it to grasshopper. The laser cutting for this small base took only 15 minutes.
CLOSING REMARKS I really liked this project, i feel that we learned a lot from it and that i will be able to use what i learned in the future. Because it was the last project i felt more comfortable with grasshopper and i was able to mix different techniques we used along the semester. I feel that the timing was really short for this project, with the small amount of 3D printers and the length of the prints I was lucky to be able to reprint my file after the first time did not work.
T h e B l ocks
A RCH 6 0 0 / Di g i t a l Fabri c ati o n
In spira t io n f o r P ro ject D e sign in g t h e P ro ject M o ck u p a n d Te st in g M a kin g a n d Assem bly F in a l: O v e r v ie w a n d Details F in a l T h o u gh t s/ closing Remarks
Z a c Korni s
2 01 6 / M . A RC H
“Good ideas come from ever ywhere. It’s more important to recongize a good idea than to author it.”
–Jeanne Gang
My inspiration for this project contains good ideas I have recognized from multiple projects. One of these projects was my panel which I made with a wave pattern imposed upon a grid. Two other major inspirations were: the Aqua Tower by Jeanne Gang and The Interlace by Ole Scheeren.
(2)
(1)
(4)
(3)
(5)
To begin, I created 5 rectangles of different dimensions and placed them at random heights that fit my design (1). Next, I took those rectangles and extruded them upwards to the next rectangle (2). Then, creating new rounded rectangles I began to design the floors (3). After imposing multiple wave patterns and offseting then extruding, I had created the floors (4). Connecting floors to my blocks finished the tower (5).
This Grasshopper script created the stacked blocks that became the basis of the tower.
This Grasshopper script became the top of each of the blocks to make it look more like a tower.
This Grasshopper script created the floors. Each block needed to have unique patterns to make the floors look their best.
H
(1)
(2)
Making/ Assembly This shot shows how the assembly process is not perfect. Using the Taz Lulzbot 5, I was able to create model out of ABS filament. The model as shown in (1) has a couple differences with (2). The 3D printer was unable to make the top block due it a lack of supports, thus creating a mess of filament. However, the printer was able to correct this and still finished with a flat top.
This shot shows all of why I wanted to accomplish with my design. The floors showed waves like the Aqua Tower and the structure was like stacking blocks similiar to The Interlace.
Focusing on the floors and their inspiration of the Aqua Tower, the final model resembles the original inspiration. These two shots show the model and the inspiration and a ver y similiar floor pattern. My Grasshopper script was able to recreate this feature.
CLOSING REMARKS With this project, I spent a great amount of time creating the scripts for the whole model. I had to persevere through many different problems in the script and put a large amount of time and effort into the design. From there, during printing, the machine jammed and was not able to complete the first model. Then, while putting new filament in, the machine actually broke. In the end, I am ver y happy with the finished project. However, I wish that the structures could have supported more.
T W I S T
A R C H 6 0 0 / / D I G I TA L FA B R I CAT I O N
I n spiratio n f o r Pro j e c t D e s ig n in g t h e Pro j e c t M o c ku p a n d Te s t i n g M ak in g a n d A s s e m b l y F in al: Ove r v i e w a n d D e t a i l s F in al T h o u g h ts / c lo s i n g Re m a rk s
P I QUE T Ma n on I n te r n a t i on a l St ud e n t / / 2016
“Dance is architecture in motion.” Jérome Touzalin
For this more architectural project, I was inspired in first by the curving structure of the Brasilia Cathedral by Oscar Niemeyer. I tried to keep the idea of the difference of diameter between the top and the bottom. Then, I want to design a façade with triangular geometries. I was inspired by some existing buildings*. *Top left, OFIS Architect - Housing in Paris, Middle left,WINGARDH’S Firm - Karolinska Institute in Stockholm
DES IGN
Pa ra m e t r i c To we r
After seeing some tutorials I created my own script in Grasshopper. I designed two different pieces : an internal structure and an outer envelope. This project allowed to be reflected more in architectonic term.
1 1 Internal structure of the of the envelope 2 Floors 3 Total structure of the building 4 Shape of the facade 5 Closing the ends 6 Emergence of balconies
1
6 4 3 2
5
MAI N STEP S W ITH GRASSHO PPER
PIPES
I n te r n a l stru c tu re
TRIA N GLE PA N ELS
En ve lo pe
BOUNDARY SURFACE EXTRUSI O N
Fl oor s
BREP
C l osed A rea
This final project deals with all the tools we have learnt and try to go further in deepening.
DESIGN
Base of the tower I created an other script in Grasshopper for the base. I tried to design something similar with the twist and the triangle panels. I added some joints inspired by japanese joinery. The negative shape is on the tower.
I have always associated the same tools : LOFT, EXTRUDE and BOUNDARY SURFACE.
6
Joint with the tower
5
Extrusion of the circle
4
Extrusion of
internal structure
Loft envelope Extrusion
3
Extrude surface
2
Surface
1
MANUFACTURING PROCESS 3D Printing
After export a STL File, I used the Maker Bot to estimate the time of manufacture. The base is printed in the Maker Bot for 5 hours and the tower in the TAZ for 8 hours. I selected the standard quality and added some external supports for balconies.
Detail of the different manufacturing steps
Layer 11
Layer 36
Layer 89
Layer 127
FINAL OVERVIEW The final result is successfull in general with the final print. I had any problem during the 8:30 of printing. I chose to create supports balconies.
to
hold
the
Thereafter,
I
cleaned the imperfections of the edges with the cutter. The most difficult part was the join at the level of the tower. It was too thin. The printing of the base was executed perfectly. The play of the inclinations is articulated particularly well with the curves of the tower. The different orientations of the filaments produce interesting light effects and reflections.
1
2
1
2
3
4
4 DETAILS
1 Base of the tower, different orientations of filaments 2 Realization of triangulated panels and balconies 3 Print supports for balconies and tower base 4 Negative of joint between tower and base
CLOSING REMARKS This final project was for me the way to confirm my autonomy with the software Grasshopper. I’m really glad today to make some progress and to be able to create my own project. This exercise also allows us to realize the relationship between parametric and architecture. We have an infinite number of possible creation. In a concern for improvement, I will work a larger joint spacing. Thanks to this class, I understood the tools and techniques associated with digital fabrication. Henceforth, I wish to continue to interest myself on this subject when I return in my school, in France.
Conclusions Parametrics are a difficult thing to teach to 20 students of different backgrounds and levels in school. It relies on three underlying ideas as well as a significant up-front investment of background knowledge; but more than this, it thrives on student’s individual thirsts for knowledge and trying something new. Nothing makes a clever mind try harder than showing it the edge of what is new, or undiscovered and asking it to generate ideas. The creative fuel of novelty may not be real, but it does not diminish the value it has as a driving force. It is, however, hard to imagine that the genesis of truly new ideas is as impossible as Mark Twain would lead one to believe. (“there are no new ideas...�)
New Ideas
Research & Experimentation
Learning the Fundamentals
It is this essence of novelty that makes teaching a creative course so difficult and exciting; problems students ask or propose have never been asked before, each solution is catered to an indiviual’s circumstance. More than this, the problems being solved aren’t entirely of a design variety, but rather of a processing and system format. Students are questioning how to go about the reformulation of the rules by which their geometry is governed, and in essence understand the underlying priciples therein of good design and composition. It is this type of instruction that can reach into the core of the least developed or expereienced students and find their fundamental beleifs about what good architecture is, should be, and can be. So, for these reasons, teaching a class about basic parametrics is not only extremely difficult, but needs to be done with absolute care and regard for the wellbeing of students and resposibilities it entails.
Opportunity
Fluke
Circumstance
Accident
Anomaly
Closing Remarks Perhaps the best mistake I may ever make is agreeing to help teach Digital Fabrication. It was a fluke that the person who had been doing it was going to start a Virtual Reality class and the spot opened up. It was an accident that someone had dropped their internship at Zahner and I had picked up the spot. It was becaus of these anomalies that the spontaneous decision to try something new with the class and attempt to teach things in a more parametric way could have even happened. But in hindsight, these were some of the best decisions that could have possibly been made at the time when they happened, and could quite possibly end of being some of the more formative expereiences in my life.
These were formative expereiences not because of the work that was completed or the lessons that were taught; those were important and made an impression, but are not anything that will change me forever. During my senior spring smester at the University of Kansas I was completing 26 credit-hours worth of coursework and had little time to do much else. The period taught me a singluar lesson that I will carry with me wherever I go: the work doesn’t matter. This isn’t to say that that academic efforts are in vain, or to stop caring about pursuits; life without work is purposeless and boring. (One will never regret working hard, or pursuing a better version of themselves.) No, what this means is that the true value earned through my time can be measured not in skills or achievement, but only in people I had the pleasure of meeting and getting to know. In this way, I can count myself extremely rich (despite the debt I may be finishing with.) My only hope is that they value my time with them, a mere fraction as much as I value their time with me.