Digital Design; Module 2

Digital Design - Module 02 Semester 1, 2019 Kate Johnson

999456 Junhan Foong + Studio 7

Critical Reading: Kolerevic B. 2003. Architecture in the Digital Age

Kolerevic described three fundamental types 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)

In Kolervics text he outlines that formative, subtractive and addative fabrication techniques are the fundamental types of fabrication. Formative is the process of deforming or reshaping forms through using heat or steam to push materieal beyond its solid state allowing it to be mechanically altered to achieve a desired shape. Subtractive processes entail the removal of material to achieve a desired form. This is done through electo-, chemically or mechanically reductive milling. The final technique discussed is the additive fabrictaton which requires the layering or material in specific incrimiments to create a whole shape.

Computer Numeric controlled fabrication in reference to parametric modelling creates great potential for the design industry. CNC fabrication follows the proccess of using an axial head controlled by a set of specific instructions to construct shapes and the more complex the axis the greater potential there is to create a complex shape.This design technique allows for mass customisation, new material experimentation, designs can utilise programs potential. This creates a strong connection between architectural design and the fabrication and digital design process, encouraging the architects to be experimental and playful with the potential the CNC provides them.

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SURFACE AND WAFFLE STRUCTURE Surface Creation

When iterating my surfaces I experimented a lot with the edge selection and the point on that edge. I wanted my two surfaces to compliment one another and while being different still achieve an element of harmony that I wanted my panelling to then contradict. I also chose my surface so that the waffling in between them would be dense and rigid.

I found it interesting in this part of the module learning how to carefully explore variation using grasshopper which could not be achieved at the same speed and with the same precision in rhino.

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The four surfaces above are the surfaces I found interesting and therefore represented on my matrix. I ended up selecting sufrace number four, which is shown on the left as it created a nice unison between the two surface while they both took on different forms.

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SURFACE AND WAFFLE STRUCTURE Surface Creation

When completing my paneling there were lots of iterations to select the geometry whcih achieved my desired aestheic. Then after selecting the geometry there was careful manipulation of attractor point and curves. These variant surfaces were baked out and manually manipulated to create the final surface as I felt this approach best suited my design style. There was some exploration of using grid manipulation in grasshopper however I wasnt able to achieve my desired panelled surfaces using these. During the manual process I experimented with different shapes. Instead of using a single pattern and a signle geometry, I created 2D surfaces from ‘softer’ attraction points and a smaller offset magnitude. This allowed for an interesting panel as it is technically all 3D yet there is a clear element of patternation from the softer shapes.

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Isometric View

To create my final two surfaces I manually selected specific elements of the multiple panelled surfaces I created. I carefully selected elements to create an overall composition which showcased my central theme for the entire project, variation. I wanted each of the surface elements to be juxtaposing and contrast, creating an overall visual unity from the interesting movement of all the elements.

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When deciding my waffle elements I was interested in keeping the structure quite dence as I believe this worked well with my complex geometries. It also was necessary to ensure the waffle was strong as my panels contained quite large elements which needed structural support.

SURFACE AND WAFFLE STRUCTURE Laser Cutting

While creating the lasercut file I ensured my geometry was on all the appropriate layers. I also followed the advice of tutors and kept some of the cut lines as etch lines to ensure my geometry didnt need to be taped. Since the ivory card is so fine I believe taping it would have been a risk of them ripping and therefore the precision of the shapes being comprimised.

For next time I will try and share cut lines where I can, I saw some other students where they did this and it seemed like a practical idea; I didnt initially as I thought the material would be too weak (especially the panels) to share cut lines incase there was a bit of an error.

My labeling process worked well for me however next time I probably didnt need to label on the waffle fins, so that it is free from text on my design.

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Lofts

1.1

1.2

{0.4,149,0}

{30,150,0}

1.3

{120,298,0}

1.4

Key

{-150,270,0}

{0,0,0}

{105,150,0}

Attractor / Control Curves {13,285,0}

{-149,159,0}

{-0.1,299,0}

{190,0.5,0}

{-60,148,0} {58,150,0}

{-16,150,0} {0.5,150,0}

{0.5,150,0}

{45,150,0} {60,150,0}

{150,-1,0}

{74,151,0}

{-2,15,0}

{0,0.15,0}

{0.1,4.5,0}

{149,148,0}

{0.3,14,0} {150,45,0}

{0,0,0}

{150,104,0} {150,90,0} {149,-1.4,0}

Paneling Grid & Attractor Point

2.1

2.2

2.3

2.4

{183,176,0} {99,103,0} {68,73,0}

{64,90,0}

{136,52,0}

{33,-12,0}

Paneling 2D

3.1

3.2

3.3

3.4

Paneling 3D

4.1

4.2

4.3

4.4

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

SURFACE AND WAFFLE STRUCTURE Matrix and Possibilities

When completing my matrix I was able to explore what surface I would like to use and then the effect the attractor point and curves had on this. I decided on my geometry which is shown in the matrix and the knowledge I gained from the matrix task enabled me to further manipulate all my surfaces to create my 2D and 3D elements. Then I was able to create a large range of options and select specific parts to create my final panels.

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Exploration of laser cut model, building scale

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SURFACE AND WAFFLE STRUCTURE Photography of Model

Overall I believe my design achieved the visual variation which dictated my design process. The panels stretch out in some parts then recede in others, There is no clear direction for the panels and the warping nature of the surface encourages a sense of movement and variation. This created interesting shape and composition which is exemplified through shadow.

Exploration of laser cut model, human scale

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Exploded Isometric, panelled surface

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SOLID AND VOID

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Visual Scripting of Parametric Model

When designing my Boolean form I followed the workshop instructions and initially began with just the exploration of spheres. However as my knowledge of the grasshopper program and the task increased I was able to incorporate more geometries. As my design theme was variation I thought about integrating contrasting shapes. Therefore I chose a rectangular prisim, a three dimensional hexagonal shape created using weaverbird and spheres.

When using boolean subtraction in rhino I selected elements to subtract which I thought would create interesting intersections and spatial opportunities.

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SOLID AND VOID Surface Creation

After exploring the subtraction process many times, I experimented within the cubes what area the 50x50x50 cube could have the most interesting intersection.

This was experimented many times while ensuring I kept a record of where I subtracted from so that I could alter this iteratively until I found an intersection which had enough variation to prove my design theme.

This iteration process allowed me to produce a final cube which incorporates my design theme and is somwhat an imagined space which has a high level of complexity.

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Four completed cubes interacting

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SOLID AND VOID Isometric view

Below are two isometrics for my inital cube that I selected. Here I thought the space was interesting due to there being penetration of the cube on the exterior exposing the complexity internally.

However I decided to push my design further and incorporate a highr level of complexity. My final Solid and Void cube exerts a complexity which highlights the intersting composition created through variation of forms. The point attraction and casacding of the internal grid creates a sense of levels which relate with a building yet the space is full of complex angles and void spaces. I believe there is an interesting balance of solid and void space in my final design.

Initial Isometrics, Solid and Void

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Point Attraction

1.1

1.2

1.3

Key

1.4 {694,1293,0}

{694,1293,0}

{0,0,0}

Grid Points

{160,-50,0}

{-116,-121,0}

{-91,303,0} {281,199,0}

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

{486,434,0}

{-19,-134,0}

{-19,-134,0}

Sphere Reaction

2.1

2.2

2.3

2.4

Shape Variation

3.1

3.2

3.3

3.4

Small Extractions

4.1

4.2

4.3

4.4

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{84,-7,0}

SOLID AND VOID Matrix and Possibilities

Task B Matrix (page 18)

Through the exploration process I was encouraged in the matrix to experiment with the point attraction to alter the reaction of the internal shapes. This allowed for me to create interesting shapes in the cube and explore various iterations.

In my final isometric I integrated three shapes, thee have been shaded to show depth. I included some of the hidden lines to show the complexity and variation in the model. Iso curves were included for clarity.

19 Final Isometric, Solid and Void

Imagined spaces of 3D cubes

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SOLID AND VOID

Photography of Model

Across my three cubes it is interesting to see the complexity of the angles develop with each of the extractions. As I worked through the Boolean process I became more experimental in the hopes of generating a shape which showcased the many angles and curves that the overall cube had.

When photographing the models I imagined them at different scales and I found it interesting the way the angles can form different meanings or uses at different scales.

The greater the complexity of the extracted cube the more interesting I think the photograph of it became and therefore my imagination of what the space could be, was pushed further.

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22 3D printed cubes interacting with each other

Appendix

Process

Photographs of the design process for constructing the waffle structure and the two panels

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Appendix Process

Overall the project required a high level of organisation to ensure the physical and digital objects were completed competently. I saved my files in processes to ensure I could always go back to earlier work if there was something different with my grasshopper references

The consturction process for my model involved labelling each of the panels with a tempoary label as I did not want text on the inside of them. I then slowly connected them with UHU glue using bulldog clips to ensure they glued accurately. I had to keep referrering to my grasshopper and rhino documents to ensure that the panels were facing the correct way and that the waffle structure was built correctly.

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Appendix

Process

For the photography of my models I booked the Universitys photo studio and hired a good quality camera, This allowed me to experiment with light and take high quality photos of my model to showcase my design.

I really enjoyed using the photo studio and good quality camera as it gave me results I don’t think I could have achieved through taking photos at home.

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The solid and void process was very interesting as it was pretty much all digital. I have used 3D printing at the NEXTLab for other subjects so I had some knowlege of the process however I learnt about reducing material usage, time and therefore saving on printing costs. I was able to share the costs with some friends by submitting cubes in small groups.

When selecting my 3D prints I had to ensure the cube could be printed without being to brittle and snapping. I used the thickness analysis which we were shown in the workshop to check my cube thicknesses. the bottom image shows some of my many iterations for my cubes. I had a process of duplicating the cube so that I could always refrehnce where the intersection occured allowing me to make small changes to ensure I got the most interesting form possible.