Digital design Module 2 Yupeng GAO / David

Digital Design - Module 02 Semester 1, 2019 David/Yupeng GAO (978292) Joel Collins + Studio 15

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)

Three key types of techniques for digital fabrication: 1. SUBTRACTIVE FABRICATION: Normally using electro-, chemically- or mechanicalluy-reductive processes to remove specified material from three-dimensional solids volumetrically to achieve the desired form. In addition, 2-D substractive fabrication, like laser-cutting, is also involved.

2. ADDITIVE FABRICATION: Being opposite to subtracitve way, this method build forms and models by adding a variety of material layer by layer. (firstly in computer, slice the forms into two-dimensional layers) 3. FORMATIVE FABRICATION: In order to achieve the desired form, mechanical forces, heat or steam are applied to a material to reshape them. (eg. heat the metal and deform it) CNC fabrication with parametric modelling potentially give designers ability to do more “crazy“ and unprecedent forms and shapes which cannot be achieved before, because they utilize the strength of digital tools and computing device to build the desired form in real life. CNC bridge the design and fabrication process which largely increases the efficiency and sometimes reduces the cost. Moreover, mass customisation may be achieved by CNC fabrication in the near future for its high cost/time-efficieny and the ability to be unique and customised.

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SURFACE AND WAFFLE STRUCTURE Surface Creation

Selection of Lines from cube

Connect points and loft to creat surface

Selection of Points from lines

Change data for iteration

Fig1. Script for surface creation

Fig 2. 4 Drawings showing Surface creation process

The logic of this script for surface creation is that firstly, generate a cube with 12 edges. Then 8 edges are taken from cube, which will be also divided evenly into points. Lastly, two sets of 4 points are chosen to be connected and lofted into 2 different surfaces.

The strength of using parametric methods of building surface is that the changes and iteration will be coherent, dynamic and reversible. By changing the selected points, a large variety of surfaces can be created so as to create the best composition and 2-surface relationship that fits designer’s concepts.

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Surface 01

Original Srf 01 Grids

Curve Attraction script

Deformed Grids

Instead of being evenly divided into regular grids, the points on surface 01 are attracted by a curve which generates deformed, irregular but more organic, dynamic and gradually changing grids. In this way, audience’s attention will be drawn along the curve, which gives fluid and various experience. Moreover, those grids far from the curve are enlarged and create visual tension and strength for the later panelling.

Surface 02

Original Srf 02 Grids

Gaussian Curvature Analysis

Deformed Grids

For surface 02, the nature of twisted surface is shown and accentuated by deforming grids into a way that follow the surface curvature. Therefore, in script, Gaussian Curvature is used as Curvature analysis to deform the grids according to the curvature magnitude at different location.

In this way, not only the twisted feature will be strengthen, but also there is a dramatically strong contrast between grids in different size with surprisingly smooth transition, which means both visual tension and coherence are emphasised through this experience.

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SURFACE AND WAFFLE STRUCTURE Surface Creation

Surface 01 Script for selecting section

Using “CULL“ and “LIST ITEM” to select desired grids in order to zone the whole grids into different sections. In different sections, there will be different 3D and 2D patterns which will vary the panels more and create more visual interest.

Surface 02

Diagram showing different sections in 2 surfaces

In order to contrast each other and emphasise different features of 2 different sets of grids, grids in surface 01 are divided into 3 sections diagonally, which accentuates the curve attrated feature; while in surface 02, 3 horizontal sections accentuate the curature changes along middle part. Two different zoning also gives strong visual contrast, bringing various experience.

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OFFSET GRID FOR 3D PANELLING

Calculate distance

Script showing Remapping for justifying offset heights

“Valley“ area

When offsetting grids for creating 3D patterns, in order to vary the patterns in 3 dimension, ie. varying the heights, REMAP and CURVE ATTRACTION components are used. For example in surface 01, firstly, attract original grids to a curve and then calculate the distance between the deformed grid points and one extra specified point on surface, which those datas will be then remapped into the heights for each offsetting of different grids.

In this way, a central “Valley“-like topography will be created for placing 2D patterns and also emphasise the curve attraction features.

Remap for various heights

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SURFACE AND WAFFLE STRUCTURE Surface Creation

First Iteration -- Triangular panels with regular grids

Second Iteration -- Quadrilateral panels with deformed grids

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SURFACE AND WAFFLE STRUCTURE Surface Creation

First and second iterations on page7 have experimented different composition and spatial/visual relationship of various triangular and quadrilateral panels. It is found that triangular shapes are commonly more dynamic, organic and steady while quadrilateral ones are more visually heavy, dominant but hard to control.

Like what task B does, searching solid and void, the paneling on surface is also a interplay between being closed and open.

Therefore, all iterations have various openings on both 2-D and 3-D panels, particularly in 3rd iteration, connections between panels are themselves openings, where many forms/shapes do not fill out the grids. This visually give panels flouting effects and interesting lighting performance.

All these qualities will be explored and applied to final version of panels.

Third Iteration(not final) -- Large openings & Minimal connection with deformed grids

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Isometric View Surface 02

Surface 01 Final design isometric view

Waffle structure isometric view

Strong visual contrast not only between surface but also within single surface: 1. quadrilateral panels on one surface 02 and triangular on the other. 2. Diagonal

The waffle structure supports panels and more importantly, showing the nature of the twisting surfaces with an engineering aesthetic. Fines and hori-

zoning on surface 01 and horizontal zoning on the other. 3. Closed/small openings on surface 01 and large/borderless openings on the other. 4. Flat shapes and 3-D forms. Moreover, on surface02, bottom two rows forming shapes that looks like just one row of large openings -- extra relationship between panels.

zontal stair-like structure themselves create dynamic patterns and rhythms which strengthen the panel and surface features. Also acting as a threshold between inner space and outer one.

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SURFACE AND WAFFLE STRUCTURE Laser Cutting

Dashed lines to prevent falling off

The use of Dashed line is essential for laser cutting. Setting folding lines for panels into dashed lines can largely help for assembling and folding physical models as it can be folded both inwards and outwards. In addition, setting one of the outlines into dashed line can hold cutted panels in place, preventing from falling off and missing.

Labelling different components are important as well which could speed up the physical fabrication stage.

x0 x1

x0

x1

x2 x3

x4

x5

x2

x6

x7

x8

x3

x9

x10

x11 x12

x13

x14

x4

x15 x16 x17

x5

Labeling for easier assemblies

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As for the constraint of laser cutting, the assembly stage takes relatively large amount of time comparing to 3d modeling and only planar components can be printed. For example, if waffle fins curve in two axis then it cannot be laser cut.

x6

x7

x8

Lofts

1.1

1.2

{45,150,150}

1.3

{15,150,150}

MATRIX

1.4

{150,150,150} {0,150,150} {120,150,150}

{0,0,150}

{150,0,150} {0,0,150} {120,0,150}

{120,0,150}

{120,0,150}

{0,0,75}

{0,150,0}

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

{150,0,0}

{0,120,0}

{0,0,150}

{150,0,135}

{0,90,0} {150,150,0}

{120,150,0} {150,150,0}

{0,150,0}

{120,150,0}

{150,0,0} {120,0,0}

{60,0,0}

{150,0,0}

{150,0,0}

Paneling Grid & Attractor Grid Paneling

{Srf Iteration 01}

{Srf Iteration 02 -- Wraping each other}

{Final Choice}

{Srf Iteration 04 -- Twisting to extreme}

2.1

2.2

2.3

2.4

{Point Attraction}

{Curve Attraction}

{Guassian Curvature}

3.1

3.2

3.3

{83,45,67}

Firstly, for lofting, the interplaying and interaction between two surfaces has been explored from average to extreme level. Secondly, different attraction methods are uesd for deforming the grids and also offsetting them. Lastly for paneling, borderless 2D openings and both triangular and quadrilateral openings on 3D geometries are explored in different composition. A great variety of patterns and experience are created by 6 selected modules in final meodel.

{Guassian Curvature + Curvae Attraction}

3.4

Key {0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Surface 01 Grid Points Surface 02 Grid Points Final design choice Place where curvature is high

Combinations of Gradually opened 2-D Paneling

Combinations of both triangular and quadrilateral forms/shapes

Using quadrilateral forms in various height (offset heights are in reverse to final version)

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Combinations of six 2D and 3D Forms with large openings and contrasts amoung each other

Triangular forms and 3D dominant panels on Surface 01 give contrast to quadrilateral forms and 2D dominant

SURFACE AND WAFFLE STRUCTURE

panels on Surface 02

Matrix and Possibilities

SURFA

CE 01

Srf 02 Horizontal Zoning

SURFA

CE 02

Horizontal Movements

Half-/fully closed quadrilateral skylight

2D

for different light patterns

3D

3D

3D

2D

3D

2D

2D

Light penetrates different shapes and sizes of openings -- casting patterns of light and shadows inside the pavilion Triangular forms with side openings

Srf 01 Diagonal Zoning

Two rows of grids combine as one row of large openings --

-- Create a void pattern by the

Diagonal movements

Create framed views towards outside landscape.

rhythm of negative space.

Exploded Isometric 1:2 0

Two totally different panels on two surfaces give contrast amoung shapes, zoning, attraction point and light performance, which creates different threshold and circulation as well.

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40

80

120

SURFACE AND WAFFLE STRUCTURE Photography of Model

The burnt marks on panels and waffle with the functional waffle structure shows an engineering aesthetics of the models which enrich the visual experience as well.

Light Penetration: Cast shadows and creat patterns

SURFACE AND WAFFLE STRUCTURE Photography of Model

No matter how each panel is, all of them have some type of openings for embracing the sunlight and open view. Every openings and skylights are different in size, orientation and shapes, bringing out various, constantly changing shadow patterns on the ground and audience’s body, providing them visual and even spiritual aspects of experience through out the space, a contemplation space.

It is not a shelter from nature environment, but a pavilion which allows audience to reaching out and communicate with nature, through the framed views towards it and more importantly, through the patterns of natural light, the origin of everything.

Orderly arranged patterns

15 Randomly arranged patterns

Visual Scripting of Parametric Model CUBE Creation: using DOMAIN BOX

GEOMETRY CREATION

Surface selection and Grids generation: Deconstruct Brep to shoose surface; use Surface Domain Number to generate grids and then move them in x direction 3 times so as to create grids for the whole cube manipulation.

Cellulation of Cube: Using Cellulate 3D Grid to divide that cube into various 3*3*3 boxes volume

Firstly get the controid of every box and then generate geometries (using Lunch box and weave bird) based on those points;

GRID ATTRACTION:

Remap:

Using Curve Attraction/ Point Attraction to manipulate grids layout in order to reconstruct the spatial layout in cube.

Convert the distance between different grids to some certain Points/Curves into data which determines mainly the size and shape of the geometries later.

*It is always better to organise visual script into different groups, Boolean intersection will be done in Rhino

which can be lookd back quite essily.

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SOLID AND VOID Surface Creation

First Iteration -- Antiprism geometries

Second Iteration -- Deformed Pyramids

The most important part of the task B script is choosing boolean geometries and how I orient and allocate them. For this two iteration, I have experimented an extreme situation where all the geometries are spiky and dense while pointing towards same location. (Towards a corner in this two case). This way creates visual focal points while having expending visual strength and give audience a very clear direction and expectation of experience.

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Third Iteration -- Icosahedron

Fourth Iteration -- Icosahedron (Different grids)

These two iteration on the other hand explore the co-existence of both order and chaos. Not like the two on previous page where we cannot distinguish or recognise original grids, these two are presenting the nature of original grids in cube and showing a sense of order. However, because of the complex geometries that are used, on the top of the order, the details of the boolean results are actually varying greatly, eg. different size of openings/ twisted columns. Therefore, looking for balance between order and chaos is one of my aims here.

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Hexagon shape skylights can allow

Hexagon shape side openings

sunlight penetrates in and cast

can frame outside views and

shadows so that creates ever-

aslo allow light penetration

SOLID AND VOID Isometric view

changing patterns

Because I get interested into exploring the balance between order and chaos which is already mentioned, I choosed the fourth iteration as fnal isometric.

For showing the nature of order, the overlapping areas amoung geometries are reduced to the point that each booleaned volume can be recognised with ease (except totally void parts).

But the complexity of that kind of geometry and the variation of it, on the contray, gives audience different spatial experience while having underlying order within.

In this isometric section drawing, protrusion and holes are predominant, which creates a variety of skylight, openings, framed/blocked views, zigzag path way and even inwards recessed space for seating and small gathering.

At the same time, with all these variation, a sense of order is shown by similar booleaned negative volumns (same hexagon shapes) in different scale, two levels space with coherent experience and so on.

Coherent but zigzag/ups and downs

A variety of both inner and outer openings

paths reates permeability throughout

strengthen the quality of Porosity which largely

space.

improves audience’s experience

Section Isometric Drawing 1:2 0

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40

80

120

Task B Matrix Cellulation Variation

1.1

1.2

1.3

1.4

{277,135,6}

{42,82,6}

Centroid & Remap for Geometries generation

2.1

{Two points attraction}

Grid geometires build up

3.1

{42,82,6} 2.3

2.2

{Two Curve Attraction}

{Random attraction}

3.2

3.3

2.4

{One attractor point and one curve attraction}

3.4

Key {0,0,0}

Attractor / Contro

Attractor / Contro

Place where geom

Spiky Pyramid come from one point

Long “Branches� coming from one point

Hexagon shapes and geometries

Organic/Dynamic iteration by Torus forms

For the iteration of cellulation, Point attraction, curve attraction and random attraction components have been explored and final iteration is following both curve and point attractor in different row of grids, which creates more variation of space. Moreover, the change of grids are the change of centroid as well as distance which will influence data of remapping, so enlarging the remap data difference will create more size variation. Lastly,as for boolean geometries, iterations cover aggressive, orderly, growing and organic shapes, where the most controlled one -- second 3.2 iteration will be further developed as fianal for its balance between order and chaos.

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ITERATION A STUDY OF SOLID AND VOID

Pavilion Form

EXPLODED DIAGRAM

Final intersection iteration generated from 4th iteration on p18. It can be described as a tilted cube deeply booleaned with 2 geometries and being burried under the ground.

SOLID AND VOID

Red -- void space / White -- Outer space

Top - overhanging space This overhanging roof defines the space that belongs to pavilion.

Also it prevents form from being too void, because it creates a sense of shelter, not fully exposed, and a space of stability and solidity to balance the huge void space in the centre. Also it creates first but light overal threshold for the pailion site. (eg: overhead shadowings) Walls and openings Walls here are very fragmented and form a half-opened enclosure. Firstly, it balances the void, acting as solid which also give users protection of privacy. As for openings, there is a framed opening for outside view and light penetration. The other void parts of wall still have a sense of solidity within it because the cube form still exist and a visual continuity will play a role for creating ‘void‘ walls.

The void wall acts as important threshold.

Uneven/recessed floor Because the whole ‘cube‘ is tilted and geometrically booleaned, the floor is not flat and even, which creates a variety of space for users in different purpose, like as seats, tables, platforms or skatepark. Also uneven floor define 3 threshold shown on diagram, all locates before you enter the main central recessed space, from public to semi-private space.

Circulation & Occupation

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Matrix and Possibilities

Three Iterations of 50*50*50 Boolean

Iteration 1

Iteration 2

Iteration 3 (A)

Searching for a balance between solid and void is the main goal of my exploration. As in Iteration 1, too much space has been cut out where users might not be comfortable with this much exposure. As for Iteration 2, space is quite various and interesting but it might betoo much going on so be confusing for audience, however it will be good for larger scale. Towards the end of the exploration, iteration 3 shows a great balance between solid and void, where people can feel free and comfortable to circulate and occupy but not losing too much privacy.

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SOLID AND VOID

Exploration of different scale and usage

Photography of Model

Iteration 4: in large scale -- Building Facade/Gate/Entrance

Iteration 2: in large scale -- 2-storey pavilion/ Landscape/Playground

Final one: in middle scale -- Small pavilion for gathering

Iteration 1: small scale -- daily objects, deck chair/ Sofa

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SOLID AND VOID

Photography of Model

In fact, both final model and Iteration 2 are quite successful in terms of creating a balanced space which is the result of negotiation between solid and void. However, the iteration 2 is more complex than the other, which will works in larger scale, for example, the concave and convex surfaces are quite dominant in iteration 2, which might be excessive in small scale (confusing) but will be enlarged then be appreciated in right human scale. Also, iteration 2 has 2 tilted levels which will be suitable for large scale.

Final boolean model

In conclusion, void is always co-exists with solid as it is only created around the form of the solids; while solid cannot be without void cause void is eventually the space people used and move around with. Reach a balance between them is essential for designing space.

Iteration 2: view02

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Appendix

Process

These are parts of the prototype panels, which turns out they either having issue of connection or not visually pleasant.

On the left it is previous make 2D drawing of final surface. Because it does not show the panel properly, only showing the side of panels and nature of surfaces, which is not the main focus for this drawing. Therefore, a new angle was selected and drawings are re-done.

Some previous Iteration. Some are too weak, others having baking issues.

Exploring grasshopper script for deforming the original grids.

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Appendix Process

Sections of Script showing the attempt to using shpere as attractor to give more dynamic iterations.

My grasshopper scripts are messy, however, each group above shows a different way of paneling and dividing grids into sections.

Some are less efficient, like BANG TREE methods, some like Random list item which we cannot controll fully. Eventually I have used a combination of CULL and LIST ITEM components to achieve that result.

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Appendix

Process

Post-fabrication: Fixing the problems

Because of the weak connection amoung panels, there must be some fixing here to strengthen it. Therefore, individual tabs are added to connection to make the waffle stable enough to be assembled into physical models. (delibrately make small tabs as I want to keep the opening as arge as possible)

After folding the panels, the whole piece will itself naturally fold up and start twisting.

Using flashlight to imitate sunlight penetrating through panel openings. Cast shadows to the wall and capture it by camera in order to visualise the shadow patterns.

Using clips to hold the panels when the glue is not dry yet.

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Appendix Process

Put flat surface onto the printing plate in order to reduce support materials usage which reduce time as well while keeping the surface clean without any support materials.

3D print sets up. Using balanced mode will take 2h 49m however, using Digital design setting will take 5h 55m.

Yellow material is for support.