Zhang yanxing 778635 part b

STUDIO AIR Yanxing Zhang 778635 Semester 1, 2018 Tutor: David Wegman

CONTENT B.0 CHAKRA

restriction and strength

sacral collage

B.1 SCRIPTING THE PROCESS

bone growth study

STAGE 1 DIAGRAMI PROCESS STAGE 2&3 TRANSLATION + PSEUDO CODE STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL STAGE 5 ANALYSIS

B.2 CASE STUDY 1.0

BRANCHING FIELD

2D ITERATION 3D ITERATION LINK TO BONE GROWTH SYSTEM

STEP1 CASE STUDY 2.0 STEP2 TRANSLATION RESULTS

B.3 REVVERSE ENGINEERING

B.4 EXPANDING THE

CONTINUE FROM B1 DIAGRAM IN MORE DEPTH TRANSLATION EXPERIMENT ANALYSIS PROPOSAL DEVELOPMENT FROM PREV TRANSLATION MORE ITERATIONS

B.5 TECHNIQUE: PRO

TEST01

TEST02

B.6 TECHNIQUE: PRO

SITE PLAN

PLAN, SECTION & ELEVATIO HERO IMAGE INTERNAL SPACE IN CONTEXT

B.7. LEARNING OBJE

B.8. APPENDIX - ALG

02

E ALGORITHM

H

VIOUS B4

OTOTYPES

OPOSAL

ON

ECTIVES AND OUTCOMES

GORITHMIC SKETCHES

001

B.0 CHAKRA

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RESTRICTION & STRENGTH - SACRAL The Sacral Chakra is featured by creativity, emotion and movement. For us, the creativity can be the restriction and strength at the same time. We both have a great ability and strong desire to create, while our natures are too ‘shy’ to express ourselves and we sort of refuse to show outside what we are capable of. Besides this, sometimes we instinctly restrain ourselves when we are creating or expressing ourselves and we are often trapped by these obstacles without a real freedom.

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B.0 CHAKRA

SACRAL COLLAGE The intention of this collage is to answer Sacral Chakra and also to indicate my own weakness and strength. The feeling of movement, emotion and creativity are strongly represented by two dancers. The interlocking between them shows a sense of balance, like Yin and Yang. Here, I will say, comes my ability to create, while noticeably the movement actually is governed by the golden ratio curve. I added up this curve subconsciously, and I think this just answers my weakness: always trying to restrain myself.

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B.1RESEARCH FIELDS BONE GROWTH - Cartilage in the region of epiphyseal plate next to the epiphysis to grow by mitosis (replication) - Chondrocytes next to diaphysis age and degenerate (cartilage stops growing and being generated) - Osteoblast move in and ossify the matrix to form bone (ossification in the centre) - Cartilage growth ceases and the epiphyseal plate completely ossifies, only the epiphyseal line remains (stop growing in length) - Continue to increase in the thickness or diameter throughout life in response to to stress from increased muscle Osteoblasts in the periosteum from compact bone around the external bone - surface. (external strong surface) - Osteoblasts in the periosteum break down bone on the internal bone surface around the medullary cavity (inner structure changed and form a void)

SEER Training Modules, BONE DEVELOPMENT & GROWTH, U. S. National Institutes of Health, National Cancer Institute<https://training. seer.cancer.gov/anatomy/skeletal/growth.html> [accessed 24th March]

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ENDOC

- M chondro - Ca perichon - Ca - Pe - Pe - Ca at the en - Se - Ca surface a

CHONDRAL OSSIFICATION

esenchymal cells differentiate into ocytes artilage model of the bony skeleton and the ndrium form apillaries penetrate cartilage erichondrium transforms into periosteum eriosteal collar develops artilage and chondrocytes continue to grow nds of bone econdary ossification centres develop artilage remains at growth plate and at joint as articular cartilage

Marieb, Elaine Nicpon,Hoehn, Katja.

(2012) Human anatomy & physiology /Boston : Pearson

Marieb, Elaine Nicpon,Hoehn, Katja, Bone Formation and Development, OpenStax, 2008 <https://opentextbc.ca/anatomyandphysiology/> [accessed 24th March]

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B.1 SCRIPTING THE PROCESS

STAGE 1 DIAGRAMI PROCESS 1. Centre point 2. Outwards growth 3. Invasion of new structure 4. Formation of new secondary points 5. Secondary outwards growth 6. New material replacing the elder structure 7. Formation of the whole structure

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B.1 SCRIPTING THE PROCESS

STAGE 2&3 TRANSLATION + PSEUDO CODE 1

2

3

Origin geometry

Origin

Create Point

Expand outwards to create bounds New centre geometry Expand outwards towards bounds New Secondary Centres within bounds Expand outwards towards bounds

Geometry massing Material effect New origin New geometry massing New effect New origins New massing New effect

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Create sphere Trim sphere Facet dome Centre Point Create sphere Trim sphere Facet dome New offset Points Create spheres Trim spheres Create circles to tangents

4 Crea orig Crea Soli Pop Face Pipe [var

New Crea Soli Pop Face Pipe [var

New Crea Soli Pop Circ Pipe [var

ate Point at gin ate sphere id difference pulate geometry et dome e riations]

w Point ate sphere id difference pulate geometry et dome e riations]

w Point ate sphere id difference pulate geometry cles to centres e riations]

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B.1 SCRIPTING THE PROCESS

n= 20

n= 25 (selected)

n= 60

TF

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n= 80

n= 80 (selected)

n= 10

n= 40

n= 68

n= 75

n= 100

TFF

n= 140

TTF

n= 180 (

T

00

5

(selected)

TTFF

STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

n= 160

POPULATE GEOMETRY NUMBER (CENTRE)

n= 100

POPULATE GEOMETRY NUMBER (SECONDARY CENTRES)

n= 200

TTFFF (SELECTED

POPULATE GEOMETRY NUMBER (OUTTER SKIN)

CULL PATTERN (CENTRE)

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B.1 SCRIPTING THE PROCESS

CULL PATTERN (OUTTER SKIN)

FRAME FORM

NUMBER OF SECONDARY CENTRE

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TF

TFF

all piping

all mesh

n= 2

n= 3 (selected

d)

STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

TTF (SELECTED)

all mesh+pipe

n= 4

TTFF

outter: mesh+pipe centre: mesh secondary: mesh

n= 5

TTFFF

outter: pipe centre: mesh+pipe secondary: mesh (selected)

n= 6

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B.1 SCRIPTING THE PROCESS

TF

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TFF

TTF

R= 0.2

R= 0.5

R= 0.5

R= 0.2

R= 0.5

R= 0.8

n

STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL

TTFF

R= 1 (selected)

n= 1.5

TTFFF (selected)

R= 1.2

n= 2 (selected)

CULL PATTERN (CENTRE MESH)

FACET DOME CELL RADIUS (CENTRE)

FACET DOME CELL RADIUS (OUTTER SKIN)

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B.1 SCRIPTING THE PROCESS

STAGE 5 ANALYSIS

We propose this structure can be used as a p

the height limitation makes people can only s

The outer skin symbolizes the primary out

relates to our coexisting strength and weakn

problematic. The cells are more like being pu its relevance to the chakra and bone system

OUTTER SKIN

CENTRE

SECONDARY CENTRES

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pavilion and a contemplating space. The inner cell is more private than the outside corridor and

sit down on ground, which gives us a chance to stop and think.

twards and the inner cells is representing the secondary growth. This symbiotic relationship

ness, as it shows our creativity is depressed by our own restrictions. But the form itself can be

ut together irrelevantly and the connection between them can hardly be detected. Due to this, is weak.

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B.2 CASE STUDY 1.0 This script is by calculating the shortest walk to simulate a branch growing behavior. The reason we chose this script is that we also want to translate the growth of bone in a very organic way. The idea of using shortest walk is logic and the nature of growth. Due to the simplicity of this script, I found there are possibilities to play around, as it can cooperate with many other forms.

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B.2 CASE STUDY 1.0

SCRIPT - BRANCHING FIELD 2D ITERATION ITERATION 1 PROXIMITY GROUP NUMBER

n= 2

n= 3

n= 5 (or

ITERATION 2 SUB-CRUVE DOMAIN

n= 0.1

n= 0.3

n= 0

n= 6

n=

ITERATION 3 PRUNE TREE MIN.

n= 4 (original)

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riginal)

0.6

=8

n= 10

n= 0.8 (original)

n= 9

n= 20

n= 1

n= 10

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B.2 CASE STUDY 1.0

SCRIPT - BRANCHING FIELD 3D ITERATION

original

increase

n= 3

n= 5

n= 8

r = 0.1

r=1

r = 2.5

delaunay 56

move upwards

delaunay with one start point

connection n=0

ITERATION 1 - START POINT

average ITERATION2 - PROXIMITY GROUP AMOUNT

n= 20 ITERATION3 - PIPE RADIUS

random

variable pipe ITERATION4 - DIVIDE CURVE

connection n=6

connection (+move) n=5

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B.2 CASE STUDY 1.0

SCRIPT - BRANCHING FIELD LINK TO BONE GROWTH SYSTEM

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B.3 REVERSE ENGINEERING STEP 1 CASE STUDY 2.0

Kokkugia, ISAW, 2007 <http://www.kokkugia.com/iSAW> [ accessed 1st April]

PROJECT: ISAW by JONATHAN PODBORSEK + ROLAND

The ISAW project is trying to weave together disparate programs in

center and form derives from the foam lattice. It achieved a strong

entirety. We chose this project as we also need to improve our prob through algorithmic languages.

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D SNOOKS

n the redevelopment and hyper densification of Warsawâ&#x20AC;&#x2122;s urban

g connection between each space and establish a fine integral

blem of lacking connection and learn how to create usable space

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1

2

4.1

3

4.2

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B.3 REVERSE ENGINEERING STEP 2 TRANSLATION 1. BOX 2. POPULATE 3D 3. VORONOI 3D 4.SCALE CELLS/FACES TO CENTRE OF EACH 5.FINDING END OF CELL/FACES 6. CREATE MESH THROUGH THE POINTS 7. SMOOTH MESH 8.CULL THE OUTER MESH

6

7

8

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B.3 REVERSE ENGINEERING RESULTS

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During the reversing engineering, Grant and I had very different ideas to achieve the form. My instinct is to use the Voronoi 3d command and find the edge, then pipe them (I have a great obsession with the pipe command since I knew it). The problem of my method is that the variation of connection and joints can never be achieved. Both of our methods didnâ&#x20AC;&#x2122;t work out. After some researches, we found that we can use the very basic element points to build mesh as illustrated in previous pages.

What I found really interesting during this process is that we are so drowned and trapped in the existing script. Referring back to my previous argument in part A, besides the possibilities these techniques brought us, they also limit our ability to create new stuff. With all these â&#x20AC;&#x2DC;convenientâ&#x20AC;&#x2122; commands , we barely think deeper with what we are doing. And the final successful outcome is rather simple to use the most basic elements to create the forms we want. I find this is a little bit ironic, that we think the existing function of the software can reduce our workload. It is never the case.

After this case study, I find we need to dig deeper for those stuff we are familiar with and then we can achieve a better understanding of what we have now and what we can create in the future.

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B.4 EXPANDING THE ALGORITHM

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CONTINUE FROM B1 - FOCUE ON BEHAVIOUR: ONGOING GROWTH INVADED BY GROWT OF NEW STRUCTURE

- MORE CONNECTIONS BETWEEN TWO SKINS TO ACHIEVE A MORE INTEGRAL FORM

- MORE CONNECTIONS TO OUR STRENGTH AND RESTRICTION, BOTH FORMALLY AND FUNCTIONALLY

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B.4 EXPANDING THE ALGORITHM

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1

2

4

5

DIAGRAM 1. Centre point 2. Outwards growth 3. Primary structure with ongoing growth 4. Formation of new secondary points 3

5. Secondary outwards growth 6. New material invading the primary strcuture and form blobs

6

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B.4 EXPANDING THE ALGORITHM TRANSLATE RANDOMLY DISTRIBUTED POINTS CREATE BASE GEOMETRY

FACET DOME TRIM WITH BREPS

CREATE SUBTRACTING GEOMETRY

CREATE SPHERE SCALE AND MOVE SPHERE

REMOVE PORTION

MESH INCLUSION DISPATCH

CREATE SECOND SHELL

SCALE DECONSTRUCT BREP

CREATE CONNECTIONS BETWEEN SHELLS

FRAME PANELS

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LINE BETWEEN TWO POINTS PIPE DECONSTRUCT BREP

CENTRE

POINT

ATTRACTORS

CHARGED POINTS FIELDS

GROWTH TO ATTRACTOR

FIELD LINES

GROWTH ON THE SHELL

POPULATE 3D EVALUATE FIELD CULL PATTERN

MOUNTING

DIVIDE CURVE CULL PATTERN SPHERE

MERGE TO A UNION

RANDOM RADIUS FOR SPHERE BREP TO MESH SMOOTH MESH

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B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT

FRAME CELLS AMOUNT

n= 19

n=48

CUT AWAY CELL FACTOR

n= 0

n=1.15

INNER CELL SCALE FACTOR

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n= 1.234

n= 0.971

8

52

n= 124 (selected)

n=237

n= 1.869 (selected)

n= 2.568

n= 0.778

n= 0.621 (selected)

n=360

n= 2.978

n= 0.257

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no connection (selected)

one to one connection

pipes

panels

n= 6

n= 10

reduced one to one connection

pipes + panels (selected)

n= 20

s conn

pipes with cu

ran (domai

shift nection

+ panels ull pattern

ndom in: 8-12)

B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT

reduced shift connection

outer shell - pipes + mesh inner shell - pipes

RELATIONSHIP BETWEEN THE DOUBLE LAYERS

MATERIALITY OF THE FRAME

RADIUS OF INEER BALL random (domain: 6-12) (selected)

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B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT

POSITION OF POINT FIELDS

DENSITY OF OUTER BLOBS

DENSITY OF INNER CELLS

Pt A - close Pt B - far

n= 0.6

T

Pt A Pt B

n= 0

FTF

SMOOTHING LEVEL l= 0 76

l= 3

- close - close

0.5

Pt A - close Pt B - far

n= 0.4

3T10F

l= 12 (selected)

close to each other (selected)

n= 0.3 (selected)

FTFTFTF FFTFFFT

l= 48

far from each other

n= 0.1

FTFFTFFFF FTFFFFFF (selected)

n= 100 77

B.4 EXPANDING THE ALGORITHM STEP 4 ANALYSIS

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B.4 EXPANDING THE ALGORITHM STEP 4 PROPOSAL

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B.4 EXPANDING THE ALGORITHM STEP 4 PROPOSAL

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B.4 EXPANDING THE ALGORITHM STEP 5 ANALYSIS

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Formally the framing is representing our restriction on our creativity and the blobs are showing our intention to express ourselves and desire to create amazing stuff. We imagine the strong feeling of dynamism will evoke the willing to create. Also the intimate connections between them indicate the integral relationship between our strength and weakness.

For the function, we want this to be working as an open and public studio. Everyone is encouraged to use this space to create what they want. In a sense, our rejection of showing our creativity will dissolve in this environment. The transparency of the space allow public to see what is happening inside the space, which will give a chance to public to raise their intention on creativity.

Problem: -

The rigid joint of the blob and pipes makes they are more individual instead of integral.

-

The use as a studio is not convincible.

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B.4 EXPANDING THE ALGORITHM DEVELOPMENT FROM PREVIOUS B4 _ TRANSLATION

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CORE IDEA

Centre point

Create outer shell

Create inner shell

Create connections between shells

Generate amorphous geometry on frame

Create table

Create amorphous connection to frame

INTENTION

Create point

Create faceted dome

Make an opening in the

Scale to create inner dom

Create lines between she

Cull lines below head he

Pipe all frame sections

Generate random sphere

Generate random sphere

Create table form

Generate random sphere

Trim table surface flat

Create lines between tab

Generate random sphere

Adjust distribution and s

Smooth together all geo

dome

me

ell vertices

eight

es on outer shell

es on shell connection

es throughout table

ble and frame

es on the lines

scale of all spheres

ometries

GRASSHOPPER COMMANDS

Point

Pop3d ‐> facet dome ‐> Trim

Sphere ‐> mesh inclusion ‐> dispatch

Scale

Line Cull duplicates (tolerance) Box ‐> mesh inclusion ‐> dispatch

Pipe

Divide Length + Area centroid Spheres (random scale) Divide length ‐> Cull pattern Spheres (random scale)

Curves

PopGeometry + divide length ‐> cull Spheres (random scale) Box ‐> mesh difference

Closest point ‐> Line

Divide length ‐> Cull duplicates Sphere (random scale) Point ‐> length/forces ‐> Scale Graph mapper Random VectorXYZ Cull pattern Union ‐> Weaverbird smoothing

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B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

n= 87 cut away factor= 2.2

l=0

cube

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n= 87 cut away factor= 2.2

l = 20 (selected)

smoothed cube

n= 87 cut away factor= 2.2

l= 50

sphere

s

POPULATE 3D CELL AMOUNT n=153 cut away factor= 1.339 (selected)

n= 248 cut away factor= 0

SMOOTH LEVEL l = 100

smoothed sphere (selected)

l = 200

BLOB FORM triangles

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B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

OUTER BLOBS DISTRIBUTION linear decay

OUTER BLOB SCALE

BRIDGING

BRIDGING BLOBS

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small

one to one

even decay

imbalance (selected)

large

one to one with cull pattern (selected)

cull

even distribution

super dense

heavy top

random

random decay (selected)

light top

fully shift

shift with cull pattern

no connection

offset

random cull answering the outer blobs ďź&#x2C6;selected)

even 91

B.4 EXPANDING THE ALGORITHM MORE ITERATIONS

cull + offset (selected)

multiple

even

single layer

f= 0.9

f= 1.5 (selected)

sphere blobs

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smoothed blobs

random blobs

CONNECTION TO TABLE fully

linear

RELATIONSHIP BETWEEN SKIN f= 1.5

f= 0.5

CENTRAL TABLE flat top with loft

flat top with blobs (selected)

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B.5 TECHNIQUE: PROTOTYPES TEST 01 STEP1: TO GET THE MODEL PRINTABLE, WE HAVE DONE THE FOLLOWING MODIFICATION:

original

union

STEP 2 TEST PRINGTING WITH MAKERBOT

Rhino Model

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In Makerbot

Printing

smooth

flat base

cap hole

FAIL!!!

Problems: - the pipes are too close to 2 mm, which requires too many supports and also - more than 22 hrs.

- better with powder printing Preview

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B.5 TECHNIQUE: PROTOTYPES TEST 02 STEP 1 REDO PRINTING MODEL AND TEST

Rhino Model

STEP 2 PRINTING

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In Makerbot

Printing

STEP 3 REMOV

SOLUTION

To have a thicker structure, we have a sectional prototype and then scale it to a printable size. Luckily, we have this printed with Grantâ&#x20AC;&#x2122;s own printer. But next time. time mangement and printability should be well considered .

g Preview

VING SUPPORTS

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B.5 TECHNIQUE: PROTOTYPES STEP 3 TIDYING & FINSIH The final outcome reveals that the 3D printing techniques is the optimal options for our project. The organic and dynamic forms can be achieved through this method. But this doesnâ&#x20AC;&#x2122;t mean that we have less work to do, on the contrary, the model need to be designed with more consideration and details. We also need to relate this to the future construction, when it is built in a bigger scale in real life, not only the structure but also more factors need to be included. Here I found that is the chance we can improve our design.

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B.6 TECHNIQUE: PROPOSAL Overall, we are satisfied with outcome and the project has successfully answered our restriction and also the strength. But at the same time, we feel there could be more possibilities that we can have for this proposal. Again, we were trapped in our restriction and we were too determined for we want in the end. One of the biggest advantages of parametric design was missed during this process and for the development, we want to try more forms and to get more exciting outcomes, instead of sticking into one result.

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B.6 TECHNIQUE: PROPOSAL

SITE PLAN

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The site is located at a big open space near Dights Falls. The high density of plants and Yarra River provides a cozy environment for public studio. As this is one of the major recreational place in this area, this location perfectly suit our intention to encourage the public to create. The steep cliff opposite to the site will also allow people a chance to view the project from above.

10m

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B.6 TECHNIQUE: PROPOSAL

BIRD VIEW 1:100

FRONT ELEVATION 1:100

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PLAN 1:100

REAR ELEAVTION 1:100

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B.6 TECHNIQUE: PROPOSAL

SIDE ELEVATIO

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SECTION 1:100

ON 1:100

SIDE ELEVATION 1:100

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B.6 TECHNIQUE: PROPOSAL

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B.6 TECHNIQUE: PROPOSAL

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111

B.6 TECHNIQUE: PROPOSAL

INTER

112

RIOR

113

B.6 TECHNIQUE: PROPOSAL

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IN CONEXT As mentioned before, the studio will be open to public and we intend to evoke not only our own creativity but also everyone. The panels on outer skin will interactively show what is happening what is happening inside the studio, by which we hope to dress more interest from the visitors.

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B.7. LEARNING OBJECTIVES AND OUTCOMES In the passing few weeks, my feelings about all these has been changing dramatically.

At the beginning, I was excited to learn an entirely new way to design and also to explore the inner part of me. I believed that I could resolve my restriction with the infinite possibilities brought by parametric design.

At least, I can be free this time. Starting from the system and algorithm is totally different process from what I had before. I tried not to restrain myself, while the final outcomes revealed that, the restrictions I put on myself were still haunting around.

As the script getting more complex, I strated to have a very strong feeling of insecurity. The fear of cannot control the situation makes me feel like floating in the air. I started to rethink my understanding of my restriction. I found I might be wrong before, as I somehow enjoyed the feeling of creating with the restriction and sometimes something beautiful has been done.

After introducing the proposal to the project, I felt the I was on the right track again, and this made me realise what I enjoyed actually is to have the control of what I’m doing instead of having restriction. Because I’m familiar with this way of design (with some clear purposes) and I feel safe to do this. The new way of parametric design requires me to have a deeper understanding then I can get the control on this. My weakness was still there and restraining my creativity. The restriction can be easily found in our final proposal, but I feel happy to see them. At least this time, I know what my real problem is and I’m prepared to have positive attitude to accept and solve it.

I’m really looking forward to the next stage, that we can truly go wild. With a deeper understanding of what we have now, I do believe that we could have more chances to create something amazing and also overcome our weakness.

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B.8. APPENDIX - ALGORITHMIC SKETCHES Field is the main area I was playing around, as I found it interestingly simulate a natural behavior and the logic behind is very clear. Also, I applied this technique into our program, as we want to give dynamic and organic characteristics to the form.

The attractors, also can be thought as a type of restriction, guide the curves to create a such beautiful form. I canâ&#x20AC;&#x2122;t help thinking, if I can never get rid of those restrictions on myself, how can I embrace them and make them the positive parts of me. Maybe the fact Iâ&#x20AC;&#x2122;m too focused on the restriction is the real blockage I have...

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