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Digital Design - Module 02 Semester 1, 2018 Rudi Vladas Ondrej Saniga (745154) Xiaoran Huang + 03


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. (150 words max) Kolerevic describes three fundamental fabrication techniques: subtractive, additive, formative. Formative fabrication involves mechanical stressing and changing the compound state of a material through heat and other influence to deform its shape, create new forms by use of moulds, and manipulating formwork. Additive fabrication involves layering a material in measured two-dimensional increments, generating a three-dimensional product. There are numerous methods of additive fabrication such as Selective Laser Sin-tering (SLS) and Fused Deposition Modeling (FDM). Subtractive fabrication methods remove a specific vol-ume from a solid piece of material. Electric, mechanical and chemical methods of removal are used. Three-dimensional subtraction is an extension of Computer Numeric Controlled (CNC) two-dimensional cutting, differing in the number of axis the milling machine can operate in. CNC fabrication has great potential in parametric modelling as it develops, primarily in the milling of heavier materials such as titanium, and the subsequent ability to construct large scale projects.

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Week Three

Surface Creation

As the first Grasshopper script I have worked on, the process of scripting was enlightening. The ability to control variables and components was to me the logic missing in the rhino interface when I had previously worked with the program. The ability to create various iterations enabled me to consider different approaches and test ideas with ease. The bottom right-hand surfaces are the two I chose to develop.

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Week Four Panels & Waffle

The textured quality of the 3D panelling shown generates many thresholds between sharp vertices and cavities. The 3D panels lean over onto the waffle structure, as if providing protection to the interior. The 2D panelling functions in the opposite manner, leaning over the ground, creating a new space and allowing views from the interior of the structure downwards. This will contribute to a floating feeling when looking out from the 2D panelling from the interior waffle structure.

This waffle structure works to manufacture link between two surfaces, which do not precisely mirror eachother. This manufactured fluidity results in floating z-planes at the top of the structure. The very top z-plane is supported by a thin, arching x-plane member. This lofty head of the waffle structure simulates the crest of a wave, while the slanting overall form captures the movement of a wave.

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Week Four

Laser Cutting

Having used CNC technology before, the process of setting up this nesting was not new. However, because I created so many surface iterations, the 2D panelling was unrolled from a slightly different panel to that the waffle structure was modeled on. You can clearly see this in the model, such a mistake has ruined the final output of what was an elegant design.

Etched z-plane and x-plane labels

Black lines for ‘cut’...notice nesting placed close to save money and paper

Etched fold lines for 3D panelling

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Week Five

Scripting my boolean form was simple, and functioned well. Designing the form was more difficult, especially when managing the various attractors and layout of geometries. Through producing many iterations, the final boolean form assumes a chiseled appearance, resembling a sculpture.

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Week Five

Isometric

This boolean form uses cone geometry to create an sharp, curving chiseled facade. The empty spaces in this form are clearly defined and act as thresholds between perspectives or views of each the three key faces of the triangular prism form. In terms of permeability, clear beginning and end points of curves which define the subtracted geometries result in a highly structured and defined sense of fluidity between the sharp, cavernous spaces.

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Week Six Task 01

Lofts

1.1

1.2

60, 0, 150

1.3

Key

1.4 {0,90,150}

{150,150,150}

{0,0,0}

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

{0,-60,150}

{0,150,150}

{150,60,0} {150,150,150}

{65,-48,0}

{150,90,0}

{0,150,0}

{0,0,0}

{150,0,0}

{30,150,0}

{150,150,0} {0,0,0} {Index Selection}

Paneling Grid & Attractor Point

2.1

{48,172,123}

{Index Selection}

{Index Selection}

{Index Selection}

2.2

2.3

2.4

{48,84,129}

{-54,161,30} {158,-35,-69}

Paneling

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

{Index Selection}

3.1

3.2

3.3

3.4

Task 01 Matrix Iteration 1.3, 2.3 and 3.4 are clearly develop to form the end waffle structure. The definitive quality of these surfaces and thus the interior structure is the wave-like slope of the 2D panelling over the ground. In terms of 3D panelling. The solid panelling encloses the interior waffle structure, acting as a textured curtain wall. This panelling consists of two pyramids per module, creating varied levels of occupation of surface area on the panel as the point grid is compressed to the lower side of the waffle structure. This also results in sharp shadow and lighting effects. Three dimensional panels are compressed to the shorter side of the model, contrasting with the floating two-dimensional panelling opposite. This contrast explores the waffles’s ability to adjust to imperfect surfaces. This exploration results in a floating z-plane at the top of the waffle structure, balancing on a curve x-plane column. This acts as a cap to the structure. Two-dimensional panelling with a large square opening exposes the interior structure, exhibiting the inner working of the model. Assuming the waffle structure as a building, these holes maximise light penetration. The interior waffle structure cantilevers out on the side of the 2D panelling. This creates a new space underneath the structure, from which one can view the ground from above through openings in the 2D panels.

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Week Six Task 02

Grid Manipulation

1.1

1.2

1.3

{38,84,179}

1.4

Key {0,0,0}

{150,0,150}

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

{151,139,156}

{141,150,150}

Grid Points {150,37,87}

{0,95,129}

Attractor / Control Surfaces

{-2,4,117} {130,150,75}

Hidden Geometry {0,0,0}

{68,168,0}

Cone Distribution

{Curve Attractor}

{Curve Attractor}

{Point Attractor}

{Point Attractor & Curve Attractor}

2.1

2.2

2.3

2.4

{172,167,111}

{-3,-9,64} {171,162,34}

Cone / Convex transformation

{Mean Curvature}

{Random Attractor}

{Gaussian Curvature &Point Attractor}

{Point Attractor & Random Attractor}

3.1

3.2

3.3

3.4

{Consistent Scaling}

{Inverted}

{Truncated}

{Random Scale}

Task 02 Matrix The quality random attractors worked well with the cone geometries, creating several sharp niches in the boolean form. Sharp edges work to maintain the original form of the cube before booleandifference. This form is carved from overlapping regular and inverted cones, giving the 3D model a chiseled quality. Niches are created as a result of the base of the cone. Overlapping geometries leave a smooth, sculptured texture, puncuated by small, sharp indentations such as this. These niches, add to the cave like cavities carved out of the original form. When its horizontal face is lying down, this cave-like quality is evident. The random attraction points used in the gh script encourages the viewer to look for the cone geometry in the model. Three key thresholds create iterations of negative space when rotating the model. The continuation of the model on the other side of the threshold protrudes into the negative space, breaking the curve of the opening. The semi-circles at the top and bottom of the solid boolean allows for the form to be used in a 3D pattern when mirrored from above and below, adding to the concave/convex cone iteration.

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Week Six

Final Isometric Views

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Appendix Process

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Appendix

Process

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M2 journal rvos 16 04  

sadf

M2 journal rvos 16 04  

sadf

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