STUDIO AIR 2016, SEMESTER 2, Caitlyn Shu Fu 743081
A.0 SELF-INTRODUCTION My name is SHU FU. I was born in China and came to Melbourne for studying when I was 18. Now I am in my second year of architecture degree. When I decided to study architecture, I knew nothing about that. I used to study all science subjects before I came to the university. At that time, everything I learned had the only answers. But designing is unlike that. It allows me to critically think of what I have learnt and to make it out for what I want to express. It is a process that allows me to see the development of Architecture is great. For me, studying architecture is studying everything. It is about the society, human beings, art, science, history, present and the future. This gave me great ambitions and enthusiasm. It also gave me big challenges, which drove me to do the things I was not good at. Digital skills is one of those. I used to be a computer idiot. I did not know what is significance of computing to design until I took the subject of Digital Design of Fabrication. I began to learn about the softwares and computing fabrication machines. The outcome of using these was amazing. Now I believe digital skills are crucial, which helps to achieve stunning ideas in a practical way and explore more potentials in a virtual 3D world. I love studios, although it is harsh and heavily work-loaded, It always leads me to achieve more than I expected and I enjoyed. I am looking forward to enhancing my designing understandings and also the digital skills from the air studio.
The Secrete Pavilion, Earth Studio, Semeter 1 2016
The Secret Pavilion, Earth Studio, Semester 1,2016 CONCEPTUALISATION 3
A.1 DESIGN FUTURING
Content A.1 Design Futuring A.2 Design Computation A.3 Algorithmic thought
PART A. CONCEPTUALISATION “IT NAMES OUR ABILITY TO PREFIGURE WHAT WE CREATE BEFORE THE ACT OF CREATION, AND AS SUCH, IT DEFINED ONE OF THE FUNDAMENTAL CHARACTERISTICS THAT MAKE US HUMAN. ”1 - TONY FRY
Any creatures surviving on this plane cost more or less of nature. While human beings are excluded from these normal ones, they cost much more and not just for surviving. We are in billions and we have used various technologies that could change the original state of substance. Ecological damage has been done too much and we have put ourselves in a defuturing and unsustainable condition already. Although the negative fact has been acknowledged, but we still cannot stop costing of nature for producing, neither stop any anthropocentrically activitirities on this planet. Tony Fry has mentioned that we are ‘too dependent upon the artificial worlds that we designed, fabricated and occupied’1. While it is the solution of these continual anthropocentrically activities that could help ‘lowing the rate of defuturing and redirect human beings towards far more sustainable modes of planetary habitation’2. So designer should be the leading person who is responsible to the future and credited to achieve these tasks. Design allows people to see the prospect of what they will realised. Since the old ages, people`s thinking system was always the initial step of stimulation. In the current times, the digital technologies allows more accurate simulation and extensive analysis in a virtual world. This means designers also need shift the old-fasion thoughts -and to face a more complex and macro environment issues. Design is no longer limited to the superficial look and the aesthetic, it is about future and everything.
1 Fry Tony, Design Futuring - Sustainability, Ethics and New Practice (New York, Oxford Berg, 2009), p. 2. 1 Fry Tony, Design Futuring - Sustainability, Ethics and New Practice (New York, Oxford Berg, 2009), p. 3. 2 Fry Tony, Design Futuring - Sustainability, Ethics and New Practice (New York, Oxford Berg, 2009), p. 6.
The UK Pavillion in Shanghai EXPO 2010 The theme of 2010 Shanghai Expo, “Better city, Better life”, indicated the expectations of future life. One of the best innovative architectures engaging with the theme was the Dandelion pavilion, the national EXPO museum of the United Kingdom designed by Heatherwick studio. The concept of this pavilion implies the relationship between cities and nature. The central project is basically a cubic structure with thousands of slender optic rods inserted on its facade. Each optic rods sealed a one or more seeds at its tip. So this building is also called Seed Cathedral. In spite of the symbolic expression of nature, the interactions between Seed Cathedral and the nature elements of wind and daylight presented the most valuable harmony between nature and city. During the day, the optic rods transfer a proper amount of daylight into the interior space. During the movement of winds, the thousands of slim rods would gently wave. These innovations make it a live architecture. The surroundings of the pavilion is also a part of the pavillion. It is a significant open area, covered with a layer of specific artificial grass. The cold texture brings a continuation of the building, which creates a tranquil calm open space for visitors to see the project in variable states. The zone was described as “a narrative of three innovative environmental installations by London-based design studio: Green City, Open City and Living City”. 1
Fig 1. The UK Pavillion
1 Jordana Sebastian, UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio, (ArchiDaily, 2010) <http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo2010-heatherwick-studio>[assessed 11st August 2016,] 6
Fig 2. The Seed Cathedral
Fig 3. The interior of the Seed Cathedral CONCEPTUALISATION 7
by New York architects The Living
Hy-fi is a set of temporary organic brick structures built on MoMA`s PS1 space in New York. The outlook is like three brick factory tunnels merging with each other, while the interior is a half shaded integral open space for visitors to explore and relax, serving as a pavilion, with three circled top openings and three gates. Although the scheme is not very aesthetically attractive, the real value exists in the nature of these bricks Hy-fi brick is totally organic and biodegradable material. It is composed by just farm waste and the growing fungus. Thus, this structure can grow as living creatures. The top layers of metal brick are used as molds for growing the bricks and also reflecting more sunlight to the internal space. When the exhibition was finished, these bricks were sent to composted in a biodegradable process. And the metal bricks were sent back for further research as they were made of a special metal. So it could achieve the zero waste in ecological environment. This case showed the potentials of new technologies facilitate in building environment in a sustainable way and the future exceptions of architecture explorations. Fig 4. HY-FI in MoMA`s PS1
Fig 5 Redering view of HY-FI in MoMA`s PS1
Fig 6. Top View of HY-FI in MoMA`s PS1
A.2 DESIGN COMPUTATION “COMPUTER ALGORITHMS AND SCRIPTING PROVIDE ENGINEERS AND ARCHITECTS WITH OPPERTUNITIES TO DESIGN IN A NONLINEAR WAY. THIS IS A MATTER OF LEARNING FROM NATURE`S EVOLUTIONARY AND NONLINEAR PROCESSES RATHER THAN MIMICKING THEM. ”1 - BOSIA
The digital technologies has brought a great evolution for architecture design working. The multiple-directed relationships between the roles within an architecture building process are integrated and combined in rules. Computation created a digital continuum on architecture design, which is a logic chain continuously proceeds from design conception, to generation and to material fabrication1. It allows a virtual modelling of the design, the fabrication process and re-evaluation in a analog world. This means the three stages of an architecture work, designing, making and reviewing are integrated. Architects became to have engineering concerns when they doing the computation design. It is normal to see in some architecture firms where architects do designing on computer and process to make it with computer controlling machines, such as 3D printer and laser cutter. For some small project, designers are constructors, they can just assemble the processed materials fast and easily to build. Architecture becomes more sophisticated in pre-build state but building state more clear and simply manipulatable as everything in computer done with rare errors.
Boisa Danie, 2011, ‘Long Form and Algorithm’, Architectural Design, 7 (2011), p.58-65. 1 Oxman Rivka and Oxman Robert, Theories of the Digital in Architecture, London; NewCONCEPTUALISATION York: Routledge, (2014), p. 1-10.
Computation also shifts designer`s thinking system. Scripting is believed as a â€˜driving force for 21st century architectural thinkingâ€™1. Architecture is not a mere piece of art. It always requires scientific methods to accomplish. Computation promotes this need from the fundamental stage, the thinking of architectural generation. Designers become more rational and logical from the understanding of algorithms, which involves mathematics, structures, and materials practice. They became to consider how would be doable in reality for creating a piece of art rather than just leave the drawing files to engineers to solve problems. The topological logic is independent from formal and linguistic models of form representation2. It is in an era that designers have to shift their thinkings of design, to apply computation as a generative design thinking system to frame the problem rather than take it just as a solution3. A boarder disciplines must need to be involved, thus we can do more effort to face the more sophisticated problem in environments.
1 Burry, M, 2011, Scripting Cultures: Architectural Design and Programming, John Wiley &Sons, (2011), p.7 2 Oxman Rivka and Oxman Rober , Theories of the Digital in Architecture, London; New York: Routledge, (2014), p. 1-3. 3 Kalay, Y, Architecture`s New Media: Principles, Therories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004), p.1-2 CONCEPTUALISATION 11
The Serpentine Pavilion 2002 by Toyo Ito The Serpentine Pavillion 2002 by Toyo ito & Associates has eloquently demonstrated the aesthetic and tectonic possibilities of the algorithmic.1 The appearance of this pavilion is like a brittle rock. Lines are spreading and intersecting to create the fragments, in the meantime to provide a sense of infinity and continuity. The combination of transparent and translucent pieces promote the sense of secrete and infinity. These fragments seems randomly set and the structure of these geometric patterns for the assembly seems inconvincible. In fact, it is derived from a decomposed cube by an algorithm. All of these random incredible pieces has been accurately analysed and calculated for their shape, structure, material practice and the light penetration effect. “The hierarchies and regularities” do exist in the geometric pattern, which “facilitate the segmenting of the structure in panels that are easily transportable and buildable on site like interlocking pieces of a puzzle”2. So this shows good example of he continuous design process.
Fig 7. The Serpentine Pavilion in 2002 by Toyo Ito
1 Sakamoto, T & Ferre, cited in A, “From Control to Design: Parametric Algorithmic Architecture”, Actar, Barcelona, (2008), p. 36-43. 2 Boisa Daniel, ‘Long Form and Algorithm’, Architectural Design, 7 (2011), p.58-65. 12
Fig 8. The interior view of the pavilion
Torre Reforma by AGU Torre Reforma in Mexico, by Arupâ€™s Advanced Geometry, shows the achievements of the explorations by architects in structural dynamics and geometric patterns. This skyscraper is structured with aperiodic triangular shaped glazing patterns. It is column-free, while the lines of steel edges of the triangles extending and intersecting with each other become the substitutes of columns and beams. This abstract geometric design not only aims for aesthetic purpose, it also optimises the performance of stableness under high seismic situations. As the triangle disperse the dynamic loads into multiple directions, which relieve the effect of loads and some even eliminated with others. So the rigours geometry can be translate in highly structured and efficient constructions1. This project illustrates how simple geometry fulfils both the aesthetic and structural optimisations. It also demonstrates the integral relationship between algorithms and rational application, which could bring great innovations.
Fig 9. Torre Reforma perspective view 1
Fig 10. Torre Reforma perspective view 2
Boisa Daniel, Long Form and Algorithm, Architectural Design, 7 (2011), p.63. CONCEPTUALISATION
Fig 11. Torre Reforma perspective view 3
A.3 Algorithmic thought “WHEN ARCHITECTS HAVE A SUFFICEINT UNDERSTANDING OF ALGORITHMIC CONCEPTS, WHEN WE NO LONGER NEED TO DICUSS THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATION CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTURE ”1 - PETERS
1 Peters Brady, _Computeration Works: the Building of Algorithmic Thought, Architectural Design, 3 (2013), p.12. 16
When computation for design has raised up within the last decade, the reputation of the relationship between computation and creativity was ambiguous. Undoubtedly, computation shifted the working methods of designers. But there are two ways of using computers, one is the mode of computerization that is simply digitizing existing procedures of the preconceived mind, the other one is exploring new ideas by algorithm for an unexpected outcome 1. The opinions for computation negate creativity existed in early years. Lowson (1999) has doubted that the appearance of computation encouraged the “fake creativity”2. Indeed, the outcomes of a piece of design can be easily distinctive just by just changing a parameter in an algorithm. However, It is the known already algorithm that creates a specific dataset environment to allow generating more complex orders, Peter has defined this process as ‘sketching by algorithm’, taking algorithm as a language that computer understood to explore further options 3. Thus the roles in designing is divided for people and computation. Designers are in charge of flexible thoughts to explore further possibilities and computation is providing chances for their creativity and realize their creativity. While this design process is integral, which used to to be done manually by designers lone. Moreover, computation also facilitates sharing ideas and gaining knowledge for designers4, by not just to showing the superficial outcome of a masterpiece of architecture, but explaining the rule behind the algorithm, to let know how to modify the codes and tell what are the possibilities for a new option.So creativity is not hindered but promoted. From the achievements by computation design until nowadays, it has been proved that the potentials of computation in creativity should not be dismissed.
1 Peters, Brady, _Computeration Works: the Building of Algorithmic Thought, Architectural Design, 3 (2013), p.10. 2 Lawson, Bryan, Fake and real creativity using computer aided design: Some lessons from herman hertzberger, ACM New York. (1999), p.174-179. 3 Peters, Brady, _Computeration Works: the Building of Algorithmic Thought, Architectural Design, 3 (2013), p.10. 4 Peters, Brady, _Computeration Works: the Building of Algorithmic Thought, Architectural Design, 3 (2013), p.11. CONCEPTUALISATION 17
The Serpentine Pavillion 2016 by Bjarke Ingels Group (BIG) continues to show the high achievements of computation Innovation. It appears as an unzipped wall, which is unzipped into two sheets from the top point. The origin of this pavilion derived from is a single brick wall. While in the reality, it is composed by thousands of interlaced hollow fibreglass. This make the wall both transparent and translucent from different angles. The conceptual model can be done by the computation technologies to pull apart the surfaces first for an internal space, and then to redefined the surface walls. This pavillion`s structure reminds me of the grasshopper exercise about morph box I did for this week. But this one is much more complicated in structures rather than just boxed surface. This project shows digital tool enabling designers to explore the relationships between a monolithic piece and its infinitesimal components. By using computation to do accurate caculations for placing and interlocking the each block, the building up process went
Fig 12. The Serpentine Pavilion 2016 by BIG 18
The Serpentine Pavilion 2016 by BIG
10. The Serpentine Pavilion 2016 by BIG
BIG claimed that this pavillion is conceptually a brick wall1. However, this masterpiece is far from the common known brick wall. So this is the creativity brought by computation.With computation, the realm of ideas that architect desired to express is broadened and creativity is growing, as BIG explained that their attempt of this design was to embody multiple opposite aspects, “free-form yet rigorous, modular yet sculptural, both transparent and opaque, both solid box and blob”. 2
1 Menking, W, 2016, ‘Five pavilions to open in this year’s Serpentine Pavilion and Summer Houses show’, The Architecture Newspaper, 7, June, viewd 10th August 2016, <http://archpaper.com/2016/06/big-serpentinepavilion/#gallery-0-slide-0 2 Stott, R, 2016, BIG’s 2016 Serpentine Gallery Design Revealed (Plus Four Summer Houses), viewed 9th August 2016, <http://www.archdaily.com/782633/ bigs-2016-serpentine-gallery-design-revealed-plus-foursummer-houses> CONCEPTUALISATION 19
Watercube Watercube National Swimming Centre, designed by PTW Architects, was built for swimming competition of the 2008 Summer Olympics. This piece either in aesthetics, perfomance and construction has received high reputations. It â€œmoves the algorithmic process one step further as a single material system produces structures and as the same time defines spaceâ€?.1 The significant feature of this project is the ETFE celluler-bubbled facade, at which the geometry was developed by extensive scripting. The whole form is a cuboid, comprised by ETFE cushions bubbles embed within the steel frames. ETFT is synthetic hybrid material of high performance. The properties it achived well explained sustainability. It has high corrosion resistance and high structure strength with light weight. It also allows more natural light penetration and solar heat access than the normal glazing, which is perfect for a waterpark. From this case, it demonstrates a greater innovation can be developed further with the algorithmic thought.
Fig 13. Watercube rendering view
1. Bessa, Maria, Algorithmic Design, Architectural Design, 1 (2009), p.120-123
A.4 Conclusion The appearance of computation has brought the architectural designing to a new age. It facilitates the creativity in every aspect of architecture, either in design and construction. Algorithms is the most significant method in computation design, which developed as a new way of sketching ideas. It is a very complex computational language and has great potentials for innovative design. I expected to learn more about grasshopper and try to apply the algorithmic skills as much as I can for the final project. The specific environments of algorithms for designing process allows designers to see the both outcomes and feedbacks easily and fast for their either spontaneous ideas or considered ones. It also allows more innovative ideas from other disciplines, such as structure and materiality, to practice in a virtual world. This involves a boarder world of design and provides a greater potentials to be realise. Thus the designing process enlarges the possibilities for the innovation of the architectures that are truly needed by future. By improving more energy efficiency, reducing more environmental cost and rising the longevity and flexibility for human needs, the sustainability can be closed. Design does not benefit nature, but benefits human beings themselves for a sustainable future.
A.5. Learning outcomes Computation technologies and algorithmic design was introduced in this studio, which is a total brand-new filed to me. From the readings and precedent research, I learned the conceptual theories about what is the computation and what does it means to architectural designing. From the exercises of learning grasshopper, I gained better understandings of the logic of algorithms and how they were applied in some masterpieces of architectures. During the practice of grasshopper, I found it can do many surprising incredible forms although I just have learned some primary short algorithms. The parameters in an algorithm has already provided infinite variations, neither the combination ways of different algorithms. If I used grasshopper to do my past design for the earth studio, I think I could do more testings for the structure explorations, rather than making one unit on Rhino and repetitively copy paste to manually pile up.
A.6. Appendix Aldorithmic Sketches
Contouring + Loft
Morph Box Flower I was quite enjoy playing with morph box. The units fiiled on the irrugular surface create various supring forms. When I tried to make it as a defending cload for people to wear, I found the form I made which used to fit body curves also looked like a petal. This inspired me to make it a flower and really made me feel the great innovation posibilities in playing grasshoper, because you never know what would inspire you when you change one parameters or just view the things from another perspective.
REFERENCE LIST Bessa, Maria, Algorithmic Design, Architectural Design, 1 (2009), p.120-123 Boisa Danie, 2011, ‘Long Form and Algorithm’, Architectural Design, 7 (2011), p.58-65. Burry, M, 2011, Scripting Cultures: Architectural Design and Programming, John Wiley &Sons, (2011), p.7. Fry Tony, Design Futuring - Sustainability, Ethics and New Practice (New York, Oxford Berg, 2009), p. 2, 3, 6. Jordana Sebastian, UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio, (ArchiDaily, 2010) <http://www.archdaily. com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>[assessed 11st August 2016,] Kalay, Y, Architecture`s New Media: Principles, Therories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004), p.1-2. Lawson, Bryan, Fake and real creativity using computer aided design: Some lessons from herman hertzberger, ACM New York. (1999), p.174-179. Oxman Rivka and Oxman Robert, Theories of the Digital in Architecture, London; New York: Routledge, (2014), p. 1-10. Peters Brady, _Computeration Works: the Building of Algorithmic Thought, Architectural Design, 3 (2013), p.10-13. Sakamoto, T & Ferre, cited in A, “From Control to Design: Parametric Algorithmic Architecture”, Actar, Barcelona, (2008), p. 36-43.
Fig 1. The UK Pavillion, < http://www.architecturelist.com/2009/07/07/uk-pavilion-at-the-shanghai-expo-2010/> Fig 2. The Seed Cathedral, <https://www.tumblr.com/search/seed-cathedral> Fig 3. The interior of the Seed Cathedral , <http://www.archdaily.com/58591/uk-pavilion forshanghai-world-expo-2010-heatherwick-studio/ukpavilionsh0032> Fig 4. HY-FI in MoMA`s PS1, <http://www.archdaily.com/521266/hy-fi-the-organicmushroom-brick-tower-opens-at-moma-s-ps1-courtyard> Fig 5 Redering view of HY-FI in MoMA`s PS1, <http://www.archdaily.com/521266/hy-fithe-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard> Fig 6. Top View of HY-FI in MoMA`s PS1, <http://www.archdaily.com/521266/hy-fi-the-organicmushroom-brick-tower-opens-at-moma-s-ps1-courtyard=http://www.archdaily.com/521266/ hy-fi-the-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard> Fig 7. The Serpentine Pavilion in 2002 by Toyo Ito, < http://www.serpentinegalleries.org/exhibitionsevents/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup> Fig 8. The interior view of the pavilion, <http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecilbalmond-arup/51423db9b3fc4bd202000043-serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup-photo> Fig 9. Torre Reforma perspective view 1, Fig 10. Torre Reforma perspective view 2, Fig 11, Torre Reforma perspective view 3, <http://www.archdaily.mx/mx/767424/en-construccion-torre-reforma-lbr-plus-a> Fig 12. The Serpentine Pavilion 2016 by BIG, <http://www.archdaily.com/782633/bigs2016-serpentine-gallery-design-revealed-plus-four-summer-houses> Fig 13. Watercube rendering viewhttp://www.chrisbosse.de/watercube/
B CRITERIA DESIGN
CONTET B.1 RESEACH FIELD
-DOUBLE AGENT WHITE - ARCHIPELAGO PAVILION
B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 REVERSE ENGINEERING PROJECT B.5 TECHNIQUE DEVELOPMENT B.6 PROTOTPE B.7 LEARNING OUTCOME B.8 SKECH APPENDIX
B. 1 - STRIPE & FOLDING r e s e a r c h f i e l d
Fig 1. The sketch of the section of f Double Agent White
Double Agent White is a piece of artistic architecture, demonstrating the outstanding creativity in folding explorations by computation and digital fabrication techniques. This pavilion is composed of continuous surfaces by the intersection of 9 spheres of different sizes. The continuous surfaces are composed of more than 8000 mesh faces and the surface contains intricate apertures. The structural skin consists of two surfaces and they are developable oriented divergently: the outside overall continuous surface forms a shelter formed with interested spheres and the inner continuous surface develops as the stems for supporting. The developable components of the dual skin was achieved by Object Oriented computing generation1. This project set as an excellent example of optimisation for assembly and infinite morphological potentials within a finite geometry, by achieving minimum amount of parts for fabrication within a transpiration case and the maximum morphological intricacy of meshes.
1 Jessica Escobedo, Double Agent White in Series of Prototypical Architectures / Theverymany, (Evolo, 2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypicalCONCEPTUALISATION architectures-theverymany/>[assessed 21st August 2016]
Double Agent White by Marc Fornes/TheVeryMany
Fig 2. The outside view of Double Agent White Fig 3. The inside view of Double Agent White
B. 1 - STRIPE & FOLDING r e s e a r c h f i e l d
Fig 4. The general view of Archipelago Pavilion
The Archipelago Pavilion sits in the courtyard in front of the Rohsska Museum of Design in Copenhagen, as a shelter for visitors to seat, lie and play with. The metal skin structure is continuous as a whole, providing shaded space for both seating inside and placing chairs outside. This pavilion shows a good example of the continuity of computation design. It was parametrically designed in Grasshopper first and then fabricated with 2mm thick laser cut steel sheet and lastly assembled on site by 33 architecture student1. The conceptual of this pavilion is the sheltering of tree. Steel sheets are joint by bolts and the laser cut routes allows the steel sheets fold smoothly to form a tree shape, which provide a comfortable surface for visitor to lie down. There are some apertures by laser cutting on the upper part of the curved combined metal sheets, letting little sunshine to penetrate down, which let people to feel more like seating under a tree shade.
1 Lidija Grozdanic, Archipelago Parametrically Designed Pavilion, (Evolo, 2012) <http://www.evolo.us/architecture/archipelago-parametrically-designedCONCEPTUALISATION pavilion/>[assessed 21st August 2016]
Archipelago Parametrically Designed Pavilion By Chalmers University of Technology and Rรถhsska Museum of Design
Fig 5. Prople entering the Archipelago Pavilion Fig 6. One person height entrance of the pavilion
B. 2 -GRASSHOPPER DEFINITION 1. BIOTHING c a s e
SPECIES 1 Primary input curves& Basic parameters
s t u d y 1. 0
SPECIES 2 Circle dirive points & F-line
SPECIES 4 Motion Vector (Z unit) & Peridioc Connections
SPECIES 3 Range Domain & Graph Mapper
S P E C I E S I T E R A T I O N S
Circle Ra R = 0.184
Devide Curve N= 2
Circle Ra R = 0.831
Change Input Curve 1 Polygon
Change Input Curve 2
Filed line N = 230
Range Domain D = (0,5)
Range Stepsr N = 25
egment = 6
gment = 3
Range without Graph Mapper
Connect Peridic to Deivid point D = (0,1), N=5
Connect Peridic to Deivid point D = (0,1), N=25, B=-4
Connect Peridic to Deivid point
Multi B = -9.3
D = (0,25), N=5, B=2.7
Add Knotstyle & xyz vector
U shape line
Graph Mapper n shape line
D=N5, K=0.216, B=-3
Change Z unit to XYZ vector D=N5, K=0.216, B=-3
SPECIES 2 I replaced the Hexagrid with Radical Grid and Square Gird and both the default value and changed value in series 1. The default value 0 sjows the original geometry of the type of the grid
SPECIES 1 I made some changes to the four point nodes toward vectors, tried within the provided range (-1,1) and a lager range (-10, 10)
B. -GRASSHOPPER DEFINITION 2. SPANISH PAVILION 2 c a s e SPECIES 3
s t u d y
When I tried to add some simple mathematical operations at the end, such as + - * /, I found these opertion work for the spacing of pattern. The upper operation is for column spacing and the lower operation is for horizontal line spacing
SPECIES 4 I replaces the image with some other black white pictures. Each one gets a label. I found the white part is double lined for the hex grid, and the black part is single lined.
S P E C I E S
I T E R A T I O N S
Original Hexgrid (0,0)(0,0)(0,0)(0,0)
No Change 42
Radical Gird (0,0)(0,0)(0,0)(0,0)
Suqare Gird (0,0)(0,0)(0,0)(0,0)
Suqare Gird (0.2,0.2)(0.4,0) (0.8,0)(0.2,0)
Suqare Gird (5,0.2)(2,2)(0,0)(0,0)
n*(2*sqrt(s²-(s/2)²)) +3 n*(1.5*s)
n*(2*sqrt(s²-(s/2)²)) /2 n*(1.5*s)
n*(2*sqrt(s²-(s/2)²)) +2 n*(1.5*s)+2
n*(2*sqrt(s²-(s/2)²)) +2 n*(1.5*s)-2 CONCEPTUALISATION 43
B. 3 c a s e s t u d y 2. 0 44
- REEF ANEMONE CANOPY - IwamotoScott - MoMA/PS1 Concept: This project was one of the entried in MoMA/PS1 Young Architects Program Competition, 2007. Reef seeks to create an experimental aquatic environment for the MoMA/PS1 Urban Beach. The proposal conceptually intended to create an atmosphere of light, shadow, shade and movement by using the underwater landscape of the reef. The architectural elements of gravel sea bed, reef mounds and anemone clouds translate the primary natural elements of the reef sea floor, reef rocks and the coral / anemones1. 1. MoMA/PS1 REEF-, (IWAMOTOSCOTT ARCHITECTURE) <http://www.iwamotoscott.com/ MOMA-PS1-REEF>[assessed 30th August 2016] CONCEPTUALISATION
Design A sense of flowing integrity is achieved within the site and the program, by generating the aligned pattern of their respective structures and surface for the anemone cloud and reef mounds. The anemone clouds are composed of 1200 uniquely shaped fabric mesh modules hung from light wooden spacers attached to the bottom chord of the cable trusses. The modules vary depths, creating different depress of shadows, and are parametrically correspond to the underside surface curvature of the cloud. The anemone canopy float over the courtyard, which is suspended on lenticular cable trusses that span from the existing concert walls. The cable placement form and overall figure that wraps together with the strip of the sea bed below. The reef mound are sit on the seabed relative to the cloud, which can create variable atmospheres for visitors, shaded, sunny, transparent and misty. Fabrication This program used parametric software to model and refine the design and latter coordinating the elements for fabrication. The anemone cloud modules are made simply by sealing two dimensional fabric and roll up to a three dimensional ring with overlapping flaps for attachment at which the geometry changed from angular to curve from top to bottom. Material quantity could be digital accurately evaluate in relation to any changes in design. CONCEPTUALISATION 45
B. 3 c a s e
- REVERSE ENGINEERING ATTEMPT 1 I tried reversing this project by using morph box at the begining, but I failed when I found the botom side is flowing continueously curved. While morph box create numerous box cells, so they cannot create a smooth curved surface. And the middle part of each unit is twisted.
s t u d y
Crete an curved suface, as the top of the vanopy
Devided surface and set grid
Set the even morph box
Set uneven morph box, using range and variation
Set the reference for morph box, base is a suqre and the top is a circle, with lofting
The end step, connect the reference to the morph box.
The units are spread on a smooth surface. They are unified and derived from one reference. The heights and the size of each unit are differen since the morph boxes are difference sized.
The loft surface of each unit is twisted seriously. This goes far from the ourlook of the reef canopy, although the top and bottom side are the same.
B. 3 c a s e
- REVERSE ENGINEERING ATTEMPT 2 I attemped to make the base angular grid first and then made the cicular rings by filleting the coners of each module, by projecting them on the bottom curved surface, lastly to loft the angular grid to the circular rings. This got more dense structure and the curved surface is more smooth by flip curve.
s t u d y
Crete an angular UV mesh and close the polyline
Fillet the corner make circle look shape derived from the grid
sacle the filet grid by centoid, and sacle from a domain of factors.
Set curve to Loft the botom surface
Project the fillet grid onto the loft surface and flip the curve
The attempt is much more like the original reef cannopy. The unit are individually linked with the angular cell and the projected scaled curve. This time I used fillet from the angular cell rather than the circle, which i found in the reef cannopy that the bottom of each unit is not a circle. This version is also not twisted anymore as I added the flipped the curve.
Some edge units are still a little twisted. But Almost the same with the reverse project,
- LINEWORK STRUCTURE
Reverse Engineering Attempt 1
Reverse Engineering Attempt 2
B. 3 t e c h
Basic Numeric Parameters
+ Pull Point + Remap
d e v e l o p m e n t 56
SPECIES 3 + Field Line
Waverbird mesh - m+Node
B. 3 t e c h
SPECIES 5 Waverbird mesh - m+Pore
d e v e l o p m e n t 58
Waverbird mesh - m+Pinch
Waverbird mesh - m+Polyp
B. 3 t e c h
SPECIES 8 Waverbird mesh - m+Peel
d e v e l o p m e n t 60
Waverbird mesh - m+Hair
Waverbird mesh - m+Facet
B. 3 t e c h
Waverbird mesh - m+Crystalise
Waverbird mesh - m+Branch
d e v e l o p m e n t 62
Waverbird mesh - m+Aperture+0
SPECIES 15 With Kangaroo
t e c h d e v e l o p m e n t 64
- HEXGONAL PATTERN WITH GRADTTION - Hinge Joint
t e c h p r o t o t y p e
This is the smallest hinge that I found in the Bunnings shop. Hinge is usually used for the door joint. Since these hexgonal patterns are expected to work in the same way to unfold, I think the hinges are the best choise for this kind of joint. Moreover, the hinge patches can be all set on the one same side of the hexgonal pieces, so only the middle line can be seen on the other side. This gives GOOD LOOKING for a show face of the garment.
JOINT THE LASER CUTTING PIECES - BACK SIDE
JOINT THE LASER CUTTING PIECES - FRONT SIDE
The hinge joint is very FLEXIBLE, It Iet these hard wooden pieces go naturally with the body curve.
B. 5 t e c h p r o t o t y p e
- HEXGONAL PATTERN WITH GRADTTION
TRANSPARENT POLYTHENE LINE
I tried the transparent polythene line to join the pieces. This gives a good clean looking. This cost much cheaper than the hinges and it can connect more thin hexgonal frames.
Although they also can fold and extend a little bit with each other, but the movement is not well smooth and flexible. Sometimes it holds its structure and not move, which need manually adaption to fit with body curve. The tightness of tying decided how it is flexible with.
- MOVABLE SKIRT FRAME
t e c h p r o t o t y p e
5/32, 25MM BOLT
I chose the bolt of 25mm, measured the diameter approximately about 3mm and cut the hole of 2.6mm. MDF is able to adjust for little errors and this make the joint more tight. I left a very tiny gap bettwen two sticks tight by one bolt. This makes the two sticks able to rotate, not loosely. Moreover, bolt has no sharp point, which would not scratch the skin and the fabric.
SKIRT FRAME 70
SKIRT FRAME (FOLDED-)
- MOVABLE SKIRT FRAME - WIRE SUPPORT
Numerous wires stands into the holes on the frame, working supporting each piece of fabric to extend. There are many frames can be added within, I made only one pair to test for the prototype. They served as the base with different distance for wires to stand from the top end . For the fabric I would do more research in latter stages, it is much better to choose a thin translucent fabric. The structure and the repeating unit of the skirt of feathers seems workable, but still need much improvement in detail design.
- movable skirt frame - standing up frame
Instead of using wire to support the fabric extention, I set another frame to stand on. Thus this frame can be movable in XYZ-axis directions. Fabrics can be still covered on the standing up frame, which would better to be the elastic fabric. This structure adds the movability and flexibility.
Joint between standing up frame and base frame
A pin inserted within the notch
For the joint, I inserted the Z-axis standing up frame into the notch of the XY-plane frame base. A pin is inserted within the notch and through the Z-axis standing up frame, which enable the standing up frame to retotate for changing angles.
B. 6 d e s i g n p r o p o s a l 74
- MERRI CREEK
At the rever bank of Merri Creek, I noticed the rock erosion . Alough the crack seemed in a tatol chaos when I first saw it, but when I zoomed in the photos on computer, I found there is some interesting gradation and regularity within the texture that the crack went to the one part to end. This reminds me that there is always a hiden rule within a piece of work, as well as in a design. So I am think about A HINDEN GRADATION to be one of my design proposals.
B. 6 -
d e s i g n ITERATION S2-2 PERSPECTIVE VIEW
p r o p o s a l 76
ITERATION S2-2 2D TOP VIEW LINE WORK CONCEPTUALISATION
WHAT This Iteration starts from basic characteritics of my B3 reverse attempt and it froms in different way in the later stages.It also scaled from the grid, and for this one I changed to hexgonal grid. The factors of sacles are still remaped by a domain and the factors distribution and the height are affected by the pulled curve. So the distributionn of the density and the gradation can be adjusted.
WHY Since all my iterations are started from 2D, and the gradation is one of the most charateristic feature of both the reverse engineering and many itertions, so I thought about the gartment could also start from the simple 2D expressions. Also this iterration seems likely to be fabricated out. Moreover, I choose hexgonal rather than quadrangle because hexgonal got more edges to connect and fold, which can fit better with the body curve HOW For this 2D expression, I would like to put them on the upper part of the body, which can show the body curves better.
- ITERATION S5-4
WHAT This Iterati starts from input to pl complecat rule within fabric exte out and als and densit different le
d e s i g n
WHY For this on is light and conceptua about the creating an light, shad translucen of frame an garment d of lightnes shows a stu of the garm can goes w 3D; FROM TO MOVEA
p r o p o s a l 78
HOW This one is hundred p mesh in no might simp but try to k
ion is from the waverbird (m+Pore). It also m an angular grid. I add some numeric lay with this plug-in. This mesh is quite ted structured, but there is a potential n it. It seems like hundreds of pieces of ented with the wire supports, spreading so end at one corner point. The gradation ty changes are also achived, by the ength and height of each extension.
ne I see somthing like feather. Feather d beautiful that is a quite good al for a garment. When I reseached Reef Canopy, I realy like its idea of n underwater atmosphere involving de and movement, achived by the nt fabric and frame. The structure nd fabric are valuable to try for the design, which can help create a sense ss and movement. Also, this iterations unning looking, set as the highlight ment. Thus the scenario of this design with an impressive end, fROM 2D TO SOLID TO LIGHTNESS; FROM FIXED ABLE; FROM SIMPLE TO INTRCATE.
s quite hard to fabricte it out as one percent same with the iteration. The on-explodable and non-unrollable. I plify and reconstruct the structures keep their features and expressions.
B. 7 l e a r n i n g
7.1 CASE STUDY ANALYSIS The research studies through B part help me to develop a better undertanding of how stripe and patterning form an architecture. Through the analysis of case study 1.0, the relationships between point and line within the field, grid and pattern were explored. it brought me great ideas for my technique development though the projects in case study 1.0 and scase study 2.0 are definitely different. For pushing the potentials beyond my reverse project definisions, I found once there is some common exsited within any two different deifinisions that I have learned, then I can combine them. Thus this is like an unlimited chain to explore.
O u t c o m 80
7.2 PARAMETRIC MODELLING I start the parametric modeling for design proposals from the iterations of the B.5 technique development. The iterations provide me a good preview of what I am gonna design and tell me clearly of what parameters need to be changed to meet my expect. Moreover, it helped me to think about the design in diifferent ways from the tradiontional way. For an example, when I did the iterations of spiecies 15, the kangaroo component allow me to see the canopy of movement and distortion.
7.2 PHYSICAL PROTOTYPES The process of making the hexagonal grid shirt went very well, the flexibility is well achived. This mainly credits to the hinge joint. The skirt frame has also achived a good test of movability and flexibility. However, the fabrics was hard to control, which I could not make a successful repeating unit of lightness. Although their preformance were good in they digital model and they did work as what I thought, the physical modelling fact was still far from my ideal expect. Fabric is relatively a new material for me, which is soft and hard to shape. I will do more research about the fabrics to know about their properties to find a best one to achive the perfomance and also do more development of the supporting frame, try to achieve a good performance of lightness and movability.
B. 8 s k e t c h a p e n d i x
REFERENCE LIST Jessica Escobedo, Double Agent White in Series of Prototypical Architectures / Theverymany, (Evolo, 2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/>[assessed 21st August 2016] MoMA/PS1 REEF-, (IWAMOTOSCOTT ARCHITECTURE) <http://www.iwamotoscott. com/MOMA-PS1-REEF>[assessed 30th August 2016] Lidija Grozdanic, Archipelago Parametrically Designed Pavilion, (Evolo, 2012) <http://www. evolo.us/architecture/archipelago-parametrically-designed-pavilion/>[assessed 21st August 2016] Double white: Fig 1, Fig 2 http://www.evolo.us/architecture/double-agent-whitein-series-of-prototypical-architectures-theverymany/ Fig 3 http://papers.cumincad.org/data/works/att/acadia14projects_157.content.pdf Archipelago: Fig 4-Fig6 http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/
C DETAILED DESIGN
CONTET C1 DESIGN CONCEPT C2 PROTOTYOES C3 FINAL DETAIL MODEL
C1.0 FEEDBACKS FROM PART B 1. MAKE MORE VARIATIONS IN SCALES OF THE GEOMETRY. 2. MAKE THE FORM MORE FLOWING. 3.CONSIDER MORE ABOUT TO FIT BODY CURVE. 4. MORE PROTOTYPES IN PART C, FOCUS MORE ON THE
C1.1 REVIEW GROUP IDEAS FROM PART B Ipart C, we were devided into groups. In the first begining stage, our group started to discuss what our individual works did in the part B. We reviewd our prototype techniques and discussed the potentials that could improve.
MEINA LEE`S PROTOTYPE TECHNIQUE: STRIP & ELELET CONNECTION & BASEPLATE FORM CHRACTERISTICS: FLOWING, ELASTIC, MOVABLE
AARON`S PROTOTYPE TECHNIQUE: STRIPE ASSEMBLY, NOTCH, FRAME SKELETEON FORM CHRACTERISTICS: ILLUSION DENSITY, CURVATURE
SIYU SHEN`S PROTOTYPE TECHNIQUE: STRIP, END CONNECTION, TWISTED TUBES, FRAME SKELETEON FORM CHRACTERISTICS: WEAVING, FLOWING
MINE PROTOTYPE TECHNIQUE: BASEPLATE, HINGE CONNECTION, FABRIC STRECH, FRAME SKELETON FORM CHRACTERISTICS: GRADATION, FLOWING, MOVABLE
C1.2 DESIGN CONCEP
Gradation Colorful Intriguing Elastic Movable
These are the main elements that were concluded from our individual previous works. The commonalities did exist, which provided us an envision of a such dress: multiple strips, dense but translucent, impressively colorful and intriguing, textured with lightness, elastic and movable during walking.
A Blooming Dress
Strip is the best form to achieve these design envisions. Then we thought about multiple layers of the thin stripes making up a garment, including the most inside layer fitting on body, the other layers of covering body and forming the garment shape for aesthetic looking. However, the expected strip performance must need something else of the external force to achieve. This means the external connections are needed. Finally we decided to use the baseplates as reviewed from part B works, which is smaller and lighter than the skeleton frames, and more flexible for stripes to extend and rotate. The particular concept of “A Blooming Dress” is mean to show the two states of the dress performances: the moment of blooming by shaking and vibrating stripes when people wear it and walk; the scene of bunches of beautiful blooming flowers when the stripes are still. This concept originally born from the idea of “moving lively when walking”, which is simply more interesting than a piece of dead fixed garment, and this would be better to show the lightness of the dress. Meina`s prototype helped us to refine that concept, whose stripes could elastically shaking when applied force, and also could keep its own curved standing shape when no one touches. Thus her prototype is taken as the main technique for the further detailed design.
C1.3 TECHNIQUE DIAGRAM
The Most Inside Strip that Fits on Body Curve
Overlayed Stripes Stand on the Two Joints to Create Space of Thickness
Units Combination Test 1 (Equal Side Length)
Simple Vornoi Pattern , Original Version
The Widest Pink Stripes
Units Combination Test 2
Changed Width of the Overlayered Stripes
Combination Test 3, C
Developed pattern, by Waverbird and Gradation e
The hollowed pattern is intended to make on the layer of the widest strip, at which the light can penertrate through and map the pattern on its below layer.
Add Mutiple Layers of Strips, Extending in A Single Direction between the Two Sides of Joints
Changed Side Length
Stripes Spread from Two Sides of Each Baseplate, Connecting as A Unit
Combination Test 4, Cross Spreading Directions
Three dimensional space is firstly created when the upper stripes are curved to stand over by the tension bettwen the two end joints, and it is developed futher by changing curvature, density, spreading derections and connection ways to be doable for a garment.
The Zoome-In Version of the Developed Pattern Traced the Choosen Pattern
Traced Flower Pattern, Coresspond to the Theme of A Blooming Dress
Pattern on Strip
C1.4 ENVISAGED CONSTRUCTION PROCESS DIAGRAM
Iteration S2-2 from Part b
2D Pattern Distribution of Gradation
Body Body Mes Mes
The baseplate are needed to hold and connect the stripes as we tested baseplates distribution are considered with the degradation element.
Baseplates on Body
The First Inside Layer
The Second InsideLa
sh sh Points Point
Base Plates Distributuion
d in the previous stages. For the most inside layer that is touched on the body, . The points are choosen symetrically .
The Most Outside Layer
The Final Digital Model of The Garment
C1.5 ENVISAGED FABRICATION PROCESS DIAGRAM - LASER CUT TING DIAGRAM
A Unit of the Core Technique
Unroll Stripe and Meadture the Length
CURVATURE TESTING & STRIP LENGTH CACULATION The stripes for prototype are all unrolled and measured. But the final model includes hundreds of stripes, it is little hard for us to unroll them one by one. So we looked for other solutions for deciding the strip length of a proper curvature. By the digital modeling test, we found there is a mathmatic logic for our expected curvature. In one bunch of the 3 colored stripes: The white strip length = X The pink strip length = Y = X + X/4 The clear strip length = Z = Y+ Y/4 This rule helped us to decide the length of the pink and the clear stripes once we know the shortest white ones by unrolling. Moreover, the garment design is symmetrical, this means the measurement can be done half. 100
1st In White Widt (This layer be dense providing so we pr these whit
nside Layer e Base Strip th = 5mm r is intended to ely weaved for g a white base, repared to cut te stripes twice
2nd Inside Layer Pink Pattern Strip Width = 15mm (This layer strip is the widest as it got the pattern. The pink strip with the hollow pattern would perform well on the white base. The Pattern is changed from the prototype to the final model)
1st Outside Layer Translucent Strip Width = 7mm (This layer is intended to be the thinnest tripes, but as considering the hole connection, we combined the two strips of 3.5mm to share one hole. We used orange color for this layer in the prototype and changed to the translucent later)
2nd Layer Strip Improvement 1. Pattern is changed from the prototype to the final model 2.The ends of holes became thinner, which allows the wide stripes to sit more densely
C2.1 THE CORE CONSTRUCTION ELEMENT
A CORE ELEMENT This prototype shows the core fabrication technique of our design. Stripes are joint to the baseplate holes, the over layers of stripes are standing to create curvatures by the tension force between the two baseplates. This the smallest baseplates of the garment that one side only holds for three bunches of stripes. Each bunch consists of three or four strips that are white, pink, orange from inside to outside. The most inside white stripes are more than one in each bunch, and they are cross to connect, which could weave more densely. This helps the hollow pattern on the pink strip showing better
STRIPES AND BASEPLATES BEFORE ASSEMBLY For the material, we choose the polypropolene which is ductile to curve and hard to break.
TWO UNITS CONBINATION This shows that the connecting technique for making up a garment is doable.
EYELET PROS: Good Looking, Rotate Able CONS: Hard to hold 3 stripes, Hard to fix down, Radius is too wide for the narrow side (so we made one going up and one going down on the one side), Easily break the Perspex baseplate (because one going up, one going down), Hard to take it out for strip adjustment
REVIT PROS: Easy to fix down, Can hold multiple stripes CONS: Fixed too tightly, Hard to rotate the strip, Hard to take it out for strip adjustment, Good looking if painted black
BOLT & NUT (FINAL CHOICE) PROS: Small, Easy to fix down and easy to take it out, Easy to manual for strip adjustment, Can hold multiple stripes. Good looking if painted black CONS: Good looking if painted black, A little long bolt end is left if using one layer of 2mm Perspex baseplate (but this problem is solved when we using two layer of Perspex, then no more end is left.) 104
C2.3 COLOR STUDY POLYPROPYLENE We bought the polypropylene of all colors from the craft market. Since the dress is intended to be colorful so we considered the following color combinations. The color choice of pink and orange was inspired from the John Wardle`s Pavilion. So we made these colors for our prototype. But the result performance was not very good as the orange and the pink are both very shining color, which would make the whole piece look very chaos. So we chose white, pink and translucent polypropolene for the final model. This would give better focus on the pink pattern strip, and the translucent thin stripes could create an atmosphere of cloud around.
Prototype Using Color
Ephemeral Pavilion By John Wardle Architects <http://www.etoday.ru/2015/09/yarkiy-dizaYnpavilona-ot-john-wardle-architects.php>
C2.4 FUTHER STRIPE DEVELOPMENT
RANDOM FORM 1 - FLOWER
RANDOM FORM 2 - BALL
RANDOM FORM These two forms are randomly made when I played with the orange strip. These polyproplyene stripes can create very intereting form and hold its shape when I twisted and bent it. The one joint must need that, which is performing the only force to keep its form. I used bolt and nut as the joint, which is long enough to hold mutiple stripes. This form looks like flower, which remind us to put this on the large baseplate to avoid the simplness of the only black area in the centre of the baseplate.
C3.0 FINAL DETAIL MODEL
SCALE 1:1 TO HUMAN BODY 108
FABRIACATION PROCESS 1 ASSEMBLY PREPARATION
FABRIACATION PROCESS 2 MODEL ASSEMBLY
WEARING PERFORMANCE ON SITE
C3.1 ASSEMBLY PREPARATION
CLEAR THE STRIPES
A` 23 C
COLLATE STRIPES INTO GROUPS
The stripes are in hundreds. They need to sit in the right locations because of their different lengths. So we collate the stripes first and label them properly. Three bunches stripes on the same route share one alphabet as they are same long for each color. And the symmetry exsits.
30 G 40
D 35 J
E` I` K` M`
30 F` G`
FRONT LABELS Number = Hexagon Radius Alphabet = Stripe Group of Same Length
Since we decided to use bolt and nut as the joint by the prototype testing. For the final model, we paint the bolt and nut into black, to conceal their metal color with the black Perspex baseplates. CONCEPTUALISATION
Since the pink and the clear propolene are translucent, the laser cutting machine has made some errors that it did not cut through completely. The white propolene did not met such problem. Thus we spent a large amount of time to clear the hollowed pattern area. Sometimes we even need knives to carve the pattern.
A` 23 Q
S U 40
35 W 45 Z
FRONT DIGITAL MODEL
BACK LABELS Number = Hexagon Radius Alphabet = Stripe Group of Same Length
FRONT DIGITAL MODEL
C3.2 MODEL ASSEMBLY
THE FRONT FACE OF BASEPLATE WITH BOLTS
THE BACK FACE OF BASEPLATE WITH BOLTS
ASSEMBLED PIECES IN THE EARLY STAGE
THE FRONT PIECE (We divided to assemble the front piece and the back piece separately and combine them in the last stage)
THE LARGE BASEPLATE WITH FLOWER (These flowers only exist on the bottom largest baseplates)
THE BACK PIECE
C3.3 FINAL MODEL
C3.4 WEARING PERFORMANCE ON SITE The vegetation of Merri crek is mainly dark green. This blooming garment is like a coloful flower that integrate with the natural environment and also set as a highlight.
C3.5 FUTHER EXPLORATION
FROM THE FEEDBACK OF THE FINAL PRESENTATION, THERE ARE FOLLOWING ELEMENTS TO IMPROVE: 1. The large baseplates affected the whole performance of curve flowing. It would be better to use all small scaled baseplates or looking for another joint else. Then the whole piece would be more integral and flowing 2. The gradational change expression is a little simple as it only shows from up to down on the body, (ie. Baseplates increases sizes from up to down, stripes increases length from up to down). The form of the whole garment can be more interesting if the gradation change was more complex with the consideration of body curve.
IMPROVEMENT REGARDING TO FEEDBBBACK 1
ONLY USE BOLT & NUT CONNECTION Long bolt is used. Numerous stripes are connected.
THE TRIANGULAR BASIC UNIT Only one bunch of stripes exists between two bolts, but the bunch can consist of numerous stripes. When these stripes rotate a little bit, the covering space is streched.
COVERING PERFORMANCE ON BODY This small piece consists of the two units of different sacles. The covering perfomance on body shows this techinique is doable for the garment. The stripes need to be shorter and more densely weaved with a further detailed design for an optimised garment.
IMPROVED DIGITAL MODEL WITHOUT BASEPLATES
C4.0 LEARNING OUTCOME
PARAMETRIC DESIGN Computation design is not just learning about what grasshopper code can build, it is more about learning a new way of thinking about design. The parametric tool provided infinite potentials to make the design more crazy in forms, more challenging in ideas and more rational in structures, which allows us to see further possibilities of what the design could be. In this final project, our group members` ideas were combined, refined and achieved by the computation design, though they were such distinctive. Moreover, it also allow us to think further than the conventional clothing and to devwelop the foundational concept of a clothing further than a simple enclosure.
FABRICATION Fabrication is the most important process of realsing a design. The difference always exists between the reality and the virtual world. Unpredictability usually occurs when this process is going though they did not appear in the computation design. The prototype testing helped us to test the possibility and find problems, then to solve the problems and refine the design. Some details are usually easy to be taken for granted. for an exmple, the joint connections in the model. This is the part that only can be tested by pratices. Thus, it is important to go to the graft market to look for something new and test if it possible. Moreover, some unexpected outcomes might work out during the prototype making process, for an example, the interesting forms when I played with the strip twisting. However, prototype might also miss something since it is only a small part of the design in order to test the technique. Force, gravity and material properties, all these elements affect the performance of the model and they are easily out of consider in the computation design. Gravity was the element that we ignored in our design, which made big difference between the digital model and the fabricated model. However, instead of overcoming this factor, playing with that and apply this element in the design is the bigger potential to optimise the design further. So I think fabrication is a process that help me to develop creative thinking as well. CONCEPTUALISATION 121