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Digital Design - Module 02 Semester 1, 2018 Claire Woodward (915 504) Michael Mack + 05


Week Three

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

Kolerevic described three fundamental type of fabrication techniques in the reading. Outline the three techniques and discuss the potential of Computer Numeric Controlled fabrication with parametric modelling. (150 words max)

Computer Numeric Controlled fabrication allows for direct ‘file-to-factory’ fabrication this allows you to produce more complex designs, more efficiently and more accurately. The limitations to this is the potential means for fabrication as the materials and methods can limit possibilities and the complexity of the design. There are three fundamental types of fabrication techniques outlined by Kolerevic these being: Two-dimensional fabrication (most commonly - laser cutting, water-jet or plasma-arc) and the process involves cutting through a material to form two dimensional pieces that can be put together. The success of this technique is heavily reliant on the material used, thickness, rigidity etc. Secondly, subtractive fabrication, which as the name suggests, involves removing and cutting away material from a solid form. The only differences between the equipment used to the above technique is that the drill-bit now has the ability to rotate in the Y direction (as well as the X and Z). Finally, formative fabrication. This involves creating shapes through the deformation and reshaping of the material. Parametric design development leaves architects and designers with unlimited possibilities and when machines are able to catch up to these complexities, design will become more efficient - avoiding human error, more accurate and unlimited.

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Week Three

Surface Creation

To begin I simply manipulated the sliders so that I could develop an understanding of what shapes and surfaces were possible and how interlocking these shapes could result in dynamic integral spaces. As I moved through the integration process I became drawn to the way the surfaces expressed movement and how through the collision or separation of points can control the nature and quantity of entering light. Through this I became interested in reducing light - replicating a cave like form (as seen in the first surfaces) so that light can only enter through the sides. I felt this would be an interesting base for exploration as it would allow me to experiment with apertures in panels. This idea of a cave and a complete detachment from the surrounding environment then became the basis for my further exploration.

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3.4 Week Four Panels & Waffle

I played around with a lot of different waffle forms that expressed either movement or lighting through pattern. I wanted to ensure that even {Panelling} though I was experimenting with different concepts on each surface that there was still a sense of continuity. Consequently, I chose two panels that repeated an interpretation of triangular forms throughout.

When deciding upon a design for my waffle I wanted to find surfaces that did not only look good and match my developing concepts, but one that challenged me so that I would have the chance to explore Grasshopper more deeply, with the aim that I would understand the processes better and thus assist when further developing the concept in Module 3. While my shapes weren’t highly curved (a choice I made as I didn’t want the curve to make my panels unbuildable) the complexity came when dealing with the collision of the two planes. In order to over come this I had to redefine the bounding box to the internal shape and then rearrange the edges to get a clean loft (images of this process can be referred to in the appendix). Also due to the narrow nature of the internal structure I decided to reduce the thickness of the waffle pieces, resulting in a more cohesive and delicate structure.

The left-hand surfaces was more dramatic in its curvature and consequently became the basis for my investigation of movement. To enhance this I defined my own bonding box and then extruded the panel outside this so that the panels would link together in a highly dramatic sweeping motion. On the alternate side I used offset triangular forms that were skewed using a curve attractor to create different appatures and a highly textured surface. This interplay of movement and lighting enhanced through complex, dramatic geometry touches on features of the Libeskind pavilion which I explored as my precedent study.

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Week Four

Laser Cutting

Laser cutting helps significantly reduces fabrication time especially when building such intricate small scale models. As I have laser cut before the process itself was not unfamiliar to me however fabrication always has its limitations and these that I have learnt will be important when moving forward to Module 3. For example the thickness of the paper can effect the permeability of the surface which intern results in shapes that may not accurately represent the scale or the shape of your digital model. By using dashed cut lines rather than etch lines you are able to get a crisp fold and you have the flexibility of folding in both directions (this is not possible in the smaller scale panels as they would be cut off so considering scale is important.) Secondly, I also learnt the importance of getting in early in order to get everything ready in time and to test as much as possible to ensure it will come out the way you desire. Finally, in the future I will consider more carefully the connection between the panels and the waffle so that this can be produces more carefully.

Dashed cut line so panel can be folded both ways

Etch line to hold label to waffle panel

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Week Five

I was immediately drawn to a spherical shape as I liked the way it creates a sense of intimacy and enclosure - these were important themes to correlate back to the idea of forming a cave like form where a person becomes completely removed from the surrounding environment. In order to create more variation to this shape I chose to use an octagonal sphere as I like the way the flat faces create a kaleidoscopic texture that is more organic to the nature rock form interiors of a cave. To enhance this I focused on playing around with scale in order to create overlaps that would form unique spaces and different windows and gaps to the outside form. During the iterations I found it was important to find the right balance between having open spaces from overlapping shapes, but not too many that resulted in a more fragmented, open form (as seen in the top right image, which created a sense of openness that did not complement the sense of intimacy and enclosure I desired. This meant playing with various curve and point attractors and scaling to cluster or separate shapes to find the right balance of overlaps.

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Week Five

Isometric

The final iteration of the model that I chose because I liked the balance of spaces created. It had one completely isolated space that encourages more intimate social interaction and provides privacy. The other spaces have more on a focus on entering light with different sized apertures throughout which would result in a playful interaction multi-faceted walls. This interaction also had interesting links between the different levels, nothing is overly repetitive and each space would provide a distinctly different experience than the next. Similarly, the small over hangs and delicate connections can lead to unique appropriations of the space when used. Also as this is to be submitted for a 3D print it was important to test it in the makerbot site, make sure that there wasn’t going to be too much support or that it was going to take too long to print. The implication of this structure in Module 3 is still flexible and will be dependent on scale. This could provide a design for the overall form of the interior on which the panels sit or it if taken at a smaller scale could design small interior spaces or furniture with which people can interact.

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Week Six Task 01

1.3

1.2

1.1 {177,74,150}

1.4 {141 ,-807,150}

{63,-27,150}

{140,-867,150}

{241,-1215,0}

{244,-1095,0}

{0,-349,150}

{90,-349,150} {150,-349,0}

{180,-1244,150}

{150,-439,0}

{64,147,0} {-12,101,0}

{99,-70,0}

{165,-1243,150}

{-20,800,38}

{Index Selection}

{Index Selection}

2.1

2.2

{3,-1167,93}

{90,-1409,146}

{Index Selection}

{Index Selection}

2.3

2.4

{-112,-1261,-51}

{244,-1095,0}

{0,-1305,98}

{51,-1382,-14}

{140,-867,150}

{112,-1417,5}

{-4,-1261,-7}

{-12,-1314,98}

{Attractor Point Location}

{Attractor Point Location}

{Attractor Curve Location}

{Attractor Curve Location}

3.1

3.2

3.3

3.4

{Panelling}

{Panelling}

{Panelling}

{Panelling}

Task 01 Matrix I wanted to be clear throughout my matrix what my thought processes were and how I got to the final product. However, because I had to main themes - movement and light, I decided to mainly focus on how I explored light on my surface as this ties in well with my explorations in part 2. My first choice of surfaces (1.2) was my initial exploration of light as the closed top minimises roof lighting. I then moved on to experimenting with the use of different curve and point attractors to see how this would change the directionality of the panels to develop more intricate lighting patterns. I ended up going with a curve attractor that skewed the directionality of each shape as this would result in every aperture being unique. Finally, I moved through to see the potential light paths created from the use of different panels. All of this exploration correlated with the second surface as I was able to pick a curve attractor that favoured one side thus resulting in panels that curved dramatically, following the waffle structure. The ultimate panels I chose were because they both interacted with these explorations which still maintaining a continuity between both sides - this was one reason why I didn’t go with the more truncated shapes as they contrasted too heavily with the triangulated panel of the other side.

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Week Six Task 02

1.2

1.1

1.3

1.4 {-385,754,92}

{-385,754,92}

{201,82,0}

{201,82,0}

{-49,42,0}

{-49,42,0}

{Curve Attractor}

{Attraction}

{1.5}

2.1

{Curve Attractor}

{Attraction}

{2}

{Point Attractor}

{Attraction}

{0.8}

2.3

2.2

{Point Attractor}

{Shape Distrubution}

{291,-960,0}

{416,-1142,0}

{Attraction}

{272,-1018,0}

{1.3}

3.1

{Scaling}

{0.3}

2.4

{291,-960,0}

{416,-1142,0}

{Attraction}

{Shape Distrubution}

{272,-1018,0}

{Attraction}

{0.7}

3.2

{Radius}

{18}

{Scaling }

{Shape Distrubution}

{Attraction}

{0.4}

{Scaling}

{Attraction}

{0.9}

3.4

3.3

{24}

{Shape Distrubution}

{Radius}

{33}

{Scaling}

{Radius}

{45}

Design Matrix 1:5

Task 02 Matrix For part to my primary focus was creating intimate spaces and dynamic light sources. This meant paying close attention to the overlaps of shapes in order to find the right balance. I wanted to design a space that from most sides appeared closed with only small peep holes but then opens dramatically internally. To do this I explored the use of different curve and point attractors in order to control the location of the grouping of objects. I decided to get them to cluster towards one side because then there is more of an interplay between the large scale and smaller scale objects. Then as I baked out my objects I looked solely at the interplay of edges and where the overlaps would occur. Through this I was able to predict the spaces that would be created and then I could alter it in order to reach my final iteration. From the photographs you can see the interplay between the light and the spaces. Light transforms the space creating an ethereal glow that will drastically transform the experience within the pavilion disorienting from the surrounding environment. Light also allows the structure to interplay with the surrounding environment extending its boundaries through dramatic shadows.

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Week Six

Final Isometric Views

Light penetrates in and out of the structure through a myriad of different apertures resulting in kaleidoscopic patterns

The waffle collides minimising the light into the space from above resulting in unique lighting patterns through the panels

The solid interlocking panels exaggerate a sense of movement and create an dynamic boundary to the interior volume

Openings of different apertures are featured throughout creating different lighting effects but also allowing peepholes to the exterior

The repetition of the same form overlapping distorts the original shape creating a highly dynamic surfaces with no well defined beginning or end

The delicate features where walls just touch creates a sense of fragility while also creating overhangs

The remaining solid acts as an enclosure to the highly textured and intricately detailed interior so that a sense of disorientation is created upon entry The lower section is shut off from the rest of the internal structure creating a more intimate and secluded space.

Axonometric 1:1 Solid boolean using 3.2 morph iteration. 0

Exploded Axonometric 1:1 0

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60mm

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20

60mm


Appendix Unique Process Steps

When defining the new brep for the waffle structure at first the curves did not match to form a clean loft so I had to re-align the points so that it would form the right shape. Then by using this shape I was able to get my contours. From this I had to cull the contours so that only the ones touching the surface were listed and from there I was able to loft the waffle and cut the notches as per normal. This helped me develop my understanding of listing items out so that things can be rearranged and individual items can be changed to desire

By defining my own bounding box I was able to create panels that would extrude out of the bounding box, thus interlock with the adjacent shape. This really helped to enhance a sense of flow and movement so that there was no clear distinction between start and finish.

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Appendix Experiments

Throughout the digital fabrication I experimented with different tools to try and get an understanding of what they meant and how they could be used. Even though I didn’t go ahead with any of these and some of them didn’t work exactly how I wanted but they still got me thinking about different ways I can use grasshoper to get different effects. And these skills may be helpful in later modules.

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Appendix

Light Study

The effects of light on my models and the resulting patterns, shadows and affects

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