ARCHITECTURAL DESIGN STUDIO: AIR

abpl 30048Tammy junyi hu 538609

B1: Design Focus .....5

ARCHIPELAGO PARAMETRICALLYDESIGNED PAVILION.....7

PARAMETRIC DESIGNED WOODEN PAVILION.....10

b2: case study one.....12

LOOP_3.....14

MATRIX 1.0.....17

MAPLE LEAF SQUARE CANOPY.....18

MATRIX 1.1.....21

B3: CASE STUDY 2.0.....22

THE DRAPE.....25

RIBS + PATTERNING......29

Technique development.....37

NICK VAN WOERT .....39

JASON PAYNE....41

MATRIX 3.0.....45

b5: TECHNIQUE PROTOTYPE.....47

b6:TECHNIQUE PROPOSAL.....52

B7: algorithmic sketches.....54

b8: LEARNING OBJECTIVES AND OUTCOMES.....56

BIBLIOGRAPHY.....58

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B1: Design Focus PRECEDENTS

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There is always a design objective in creating a design; especially for something that carries such significance that serves as an iconic image for the City of Wyndham. Acknowleging that our site is located next to the busy Pricess Freeway we realised we only had 40 seconds of driving time to create a change between Metropolitan Melbourne and Suburban Wyndham. Due to this short time of contact, it is crucial that our design is bizzare enough to create a lasting impression for drivers.

Whilst there is no time for road users to get close and inspect the work itself, the aim is to leave an “ongoing interest”, encouraging viewers to consider the piece of art in various levels of understanding according to their personal interpretation. To stimulate their curioustiy, our intial concept is based on generating mystery by complex geometry and pattern repetitions. Our core objective here is to facilitate users’ reflection provoked by our innovative and unexpected design which holds meaning beyond their imgination.

Hence in the design examples provided, we are interested to investigate the ‘strips and folding’ method because it has the flexibilty generate free forms which and create sophisticated geometrical repetitions. Also, in responding to the brief in creating contrasting themes during the day and night views, “Strips and Folding” allow for concealment of lights during the night, as well as providing interestings patterned shades at different times of the day in response to the angle of sunlight.

In focusing on “Strips and Folding” however, our group decide to explore and combine the other mothods such as Biomimickry and Tesselations. We believe that to create a sophisticated “BLUR” that we are trying to create will only succeed if a combination of methods are used instead of just exploring one. In the following seciton of this journal, I will be exploring the various precents we investigated which helped us understand the concept of “Strips and Folding”, suggesting ideas for our design for our Gateway Project.

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ARCHIPELAGO PARAMETRICALLY DESIGNED PAVILION

Marcus Abrahamssobn & Benoit Croo Sweden

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One of the strengths for using “Strips and Folding” is that the joints between each strip can be uniqually designed to enhance the project. It provides stability for complex geometry in which in many cases does not stand upright. Such that of the Archipelago Parametric Pavilion here, its joints are specially designed to suit its material and and form, resulting in a stable physical production as well as enhancing the overall aesthetic design. Under careful observations, the structural bolts are only visible on the exterior, yet creating an illusion of conceal joints in the interior. This may be minor detail to its overall design purpose, but it is obvious been considered and carefully monitored by the architects.

The fittings of the construction joints is also a response to its purpose. In this experimental project it has a clearly defined objective because it is a structure reacting to the site inefficiencies. It is a built proposal for 33 architectural students (Komatina, http:/aconstructionsite.blogspot.com.au/, 22-4) to create a “focus point” during the constructon phase, as well as “exploring digital fabrication and turn it into real, built architectural projet” (Komatina, http://aconstructionsite.blogspot.com.au/, 22-4) Very much similar to our project, it is enriched with a embedded purpose and it is how we as designers define and demonstrate this action.

In translating thier initial ideas from the islands of archipelagos, its form and interior spaces are explored, and is made possible by exploring material and organic patternings. With a purpose of a pavilion, it is ideal to create an interior that maintains its dry environment and cooling effect in summer months in Sweden. This is

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achieved by exploring material, and is only made possible with stainless steel (Grozdanic, http://www.evolo.us/, 22-4). For their project, it was the purpose and material choice that influenced their decision for strips and folding as a constructional method. It was through this method was it possible for maintaing the form to have a interior such as those archipelago islands, as well as imprinting the organic patterns onto these steel strips to ensure users an experience similar to the actual environment (omatina, http://aconstructionsite.blogspot.com.au/, 22-4).

The Archipelago Parametrally Designed Pavilion is a good example to demonstrate the way strips aer beneficial in creating meaningful forms including its curvature of a complete cylindrical geometry. It is a precended example showing that strips are capable to be created as flat objects in the fabrication process to ease the construction process. It is generally a intricate and complex form yet with the use of parametric modelling, its meanings were demonstrated with a strong sense of harmony.

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PARAMETRIC DESIGNED WOODEN PAVILION

Stefanescu-Bedarf-Hambasan Romania

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The Parametric Designed Wooden Pavilion too has a purposeful background to begin their design intents. It is a student innovative project designed and erected for the ZA11 Speaking Architectural event in Romania. With such as demanding purpose, it is similar to our project in creating a iconic and “representational” sculpure to attract the attention of passerbys and drivers. It is a visual intrigue, which relates strictly with our purpose of our design.

In fulfilling its goal, they made it legible, they achieved it by documenting their design form by the definitions for strips and folding. Strips and folding is flexible in making alterations individually to its every component, meaning that every joing and strip surface can be controlled indepently, minimsing material, cost as well as providing “extra flexinbilty and less joint stiffness” by altering different thicknesses of material. This inspires us consider this flexible component not seen frequently in other projects.

Similar to the Archipelago Pavilion, the strip connections are produced in accordance to its material conventions and strengths. This design was highly challenged by the sponsored material sponsors and budget expaectations, therefore its final production could only afford the size it is. The physical production involved 746 pieces and its major feature was essembled without the use of nailing or bolts. It is evident that they have designed this deliberately in order to limit the cost, hence establishing all connections by notches. Dedicated to the use of computative techniques, the size of the noches in realtion to the area size of the strip was accurately calculated, and minimal size was achieved. Although in their project, they had put much effort into the design of connections because of cost matters, it has inpired us to consider various connection types, and notches is an economical as well as effienct way of physical construction.

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b2: case study oneBIOTHING

Alisa Andrasek

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Biothing, founded by Alisa Andrasek 2001 is a architectural research group interested in exploring the shift from techiniqical based approach to a more explicit computative appraoch. Hence, their designs are very much similar to our objective in exploring the new generation of computative tool; scripting directly in an open source movement, listing the constraints of a design rather than its desired outcomes. Its method of transcoding icludes te constraints of material choice, structure, farbrication process and assembly.

In their project of the Seroussi Pavilion they have emulated the creative patternings of vectors based on eletro-magnetic fields (EMF) by adopting strip and folding. Their form modifications were controlled by the attractions and repulsion trajectories computed by sin functions. Through the use of strips and folding, they were able to create three dimensional objects that represented these obscure conventions.

develope curve in relation to concept

divide points on these curves

divide points on these curves

creating geometrical circles at these points

Further division of points on these circles

protruding lines at these points

Here is a simple explaination of the developing process of their defintion, which we chose as our basic function for our experimental process:

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LOOP_3

Alessio Erioli (Co-de-iT)

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Loop_3 is a project which mathetmatics have been a major contribution to its design. It demonstrates an effective use of computative design by utilising “mathematics as a privileged tool for tracing systematic paths as well as enhancing their expressive language” (Loop3, http://www.co-de-it.com/). Furthermore, the product of it shows the links between philiosphies and art disciplines, unifying and expressing it through coding.

Loop_3 demonstrates the complexity fof olding can what it can offer with its unique form and dynamic shape. the project evokes

a sense of fluidity and movement, enhanced by the multiple folds and ripples, creating a smooth three- dimensional palatte for the eye to move across. Loop_3 explores a use of rationality in complex shapes that “merges user spatial interaction, curvature as a stuctural and expressive strategy...the voluptuous ripples also strengthen the overall shape.”(Loop3, http://www.co-de-it.com/) Similiar to our objective of of explorations, Loop_3 also uses matematical trigonometric functions explored through parametric softward as a means of aesthetic device.

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MATRIX 1.0

By altering the sliders of the biothing we were able to create simple two-demensional patterns. In relation to our concept of complexity we added a different dimension to to the original function. We realised that simple geometry was not favoured with this function because all its alterations were very basic; differing in the length of the spikes and radius of the pointed circular geometries. Therefore, in the second line of the matrix, it is reflected examples of the original function hence the geometry is inversed to the original ones (first row), where the spikes are extending in the opposite direction.

Inspired by the biothing definition itself, the forth row down of the matrix is made into a three dimensional shape by dividing more points on its strips. Although the model of this is not possible for fabrication because of its highly complex repetitions of single lines, yet it that was the first model made that was three-dimensioned and can be stood up independently. By creating points onto the original shap and connecting these points with lines, we were able to create this innovative diagram similar to the original function.

The last two rows of the matrix is a result of substituting the line connctions between points with surfaces geometry. We chose to change the connections with surfaces because we were interested in creating independant objects in which it is three-dimensioned. However, as seen in the examples, the geomtry became even more complex expressed in its ribbon like characteristic.

Exploring the tecniques of the Loop_3, it inspires us to generate forms which are complex in meaning yet simple in form. It is very different to the Biothing: Seroussi Pavilion in which its meaning is translated directly to its form, whilst in Loop_3 its complexity doesn’t neccessarily come from its form. It is the complexity lays between each connection of each individual strip and play with material. Therefore, in our matrix here, we tried to re-create the biothing definition in order so create simpler forms yet maintaining its skeletal meaning. However we realised that shapes that are too simple can only generate two-dimensional geometry in which it would not work in our conxtect of creating a sculpture. Such as the Loop_3 project, we are thinking of combing a simple strip support whilst expressing our understanding of complexity in the use of patterning morphed on top of it. By studying the two precedents above, we have a deeper understanding of complexity, which suggests the next design process of creating patterns.

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MAPLE LEAF SQUARE CANOPYUnited Visual Artists

Toronto2010

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The Maple Leaf Square Canopy has a proj-ect agenda similar to our proposed philoso-phies. Located in the the CBD of Toronto, it acts as a differentiation between the “built and the forest environment” (Saieh, http://www.archdaily.com/). Its purpose is to cre-ate a distinct difference in the CBD in which visitors will be able to relate to the natural Maple canopies within the busy streets of Toronto. Also, it can be seen as a transition point when viewed at a vertical latitude, as it is seen as part of the “busy streets” of the city from above (bird’s-eye-view) whilst it function brings a totally opposite experience for users. The patterning of the crystalline material is reminiscent of the maple leaf cells. It is generated by utilising advanced computative algorithms, hence each cell is a translation of “natural geometry” of mathematics (Saieh, http://www.archdaily.com/). It reliance on natural creations is the essense of our

exploration in the project. In our search for complex patterns, we hope to develop meaningful and sophisticated patterned tesselations resembling the complex relatioships between the Melbourne CBD and suburban Wyndham City.

It’s unique geometrical productions provides an interesting use of light and shade under daylight, yet the structure is intended to “come to life” after the sun has set. Through the 8000 crystallin cells, daylight is filtered through during the day, creating a natural resemblence of natural Maple canopy. At night when the lights are lit however, the passage way transforms itself, embedding its natural form into the busy nights of Toronto. Although it is still early in the designing process however this characteristic of the Square Canopy should be noted in response to the brief for creating contrasting environments between day and night time.

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MATRIX 1.1

The research of patterning was to enhance our strips and folding structure. There are various methods in order to how the patterns can be embedded into our design to create a more sophisticated design. The more sophisticated the patternings are the better it will translate our intentions in making a distinct difference between the busy metropolitan and the simple suburban districts. In the matrix on the left, it shows the various mutations of patterning formed by “natural geometry” of computative algorithm.

Beginning with a hexagon grid on Grasshopper to form an arrangement of shapes, we decided to choose a simple geometric rectangle as the starting geometry because we believe that its length and softness of its edges can create interesting and innovative explorations. To initiate the process, the rectangle geometry was repeated twice in order to have three separate rectances to rotate on a centre axis in different directions. We made sure that the axis of each set of the three rectangles aligns to the hexagon grid.

Problems arose when we tired to create the axis in the centre of each set of the three rectangles. It opposed to what was originally happening with the entire grid of “Rectanglular shape 1” and “Rectangular shape 2”, rotating around a point in the bottom left corner of the hexagon grid.

This was overcome by giving each curve a plane to rotate around and altering the number sliders to control the length and edges of the original rectangular shape. When alterations were made in the sliders for shape 1 and 2, the shapepe in the axis also rotated on the specified angle. This is demostrated in Matrix 1.1, in the first two rows. Having the geometry rotate on an angle, it creates an illusion of diagonal strips from afar, and promotes an interesing pattern evoked from speed and movement from the viewers.

Further research for our facade design is required so that we can explore in controlling light and shade and its distinct difference with night time experience. This will be further explored in the next section of the journal.

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B3: CASE STUDY 2.0DOUBLE AGENT WHITE

Marc Fornes/ Theverymany2009

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As the result of a new era of prototipycal architecture, Double Agent White designed by Marc Fornes and Theverymany is one the most prodominant examples. The structure is devided into two main elements- the double curvature facade and internal structural component. Its fluid form is generated by using method of ‘object orientated’ computing technology and is only made possible by its double curvature characteristic.

The highlight of the structure is its fluid double curvature facade. The continuous curve is composed of nine unique spheres in exploration of material rigidity and optimal use of nesting storage for larger decomposible units (Escobedo,

http://www.evolo.us/). Via these explorations was its gaol of structural continuity, visual interplay and logistical efficiencies achieved.

Looking closely at the double curature of spheres, they have different properties to maintain its structural intergrity. The first curve about generating its overal geometry, where the techniqual convention was to limit and minimise the elements able to be cut with the spefidied number of flat sheets of aluminium. The second curvature located on top of the first, is full of expression and morphologies that crafts “aperture as ornament”. With these two “skins” working together, the resulting structure is becomes a logcal assembly of mobility.

Formal Constraints

Technological Constraints

Dynamic Structure

Spatial Nuance + +=

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THE DRAPE Attempt 1

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Create sphere in Rhino

Mesh surface by Grasshopper directly above sphere

Array of points in mesh surface

Set springs onto the mesh surface

Indicate Movement is needed in the process

In attempting to recreate the form of Double Agent White, we experinmented with two major course, in which the first attempt was using the “Drape” method to recreate the spherical geometry. In creating it, we realised that using merely Grasshopper was not achievable because of its form regiditiy and restraints, we began to explore in Kangaroo (plug-in designed for Grasshopper), in which there was the command of the “Drape” function.

The intent of the “Drape” is basically creating a hollow indent on a flat surface from an object. As we are trying to create a circular facade for the project of Double Agent White, we have used a sphere as the starting object for the indented shape. In documenting the process of using this drape command, we were confronted with many problems because we were all unfamiliar with the Kangaroo plug-in.

Beginning with a definition we found online, we slowly became a little bit more familiar with the new functions we were presented. A simplified version of the steps taken is provided on the bottom of this page.

During our explore process, we found out that the shape of the drape was not only influenced in the shape of the initial object (which we used a spherical three dimensioned ball), the input force also help creating a smooth

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Force constraints Fall Duration Fall Duration Fall action Mesh Preview

surface. In the examples on the opposite page, the first two samples are resultants of high force (fast draping action), hence it is not in a very smooth finish. The final baked model however, there is a smooth and continuous finish because we have adjusted the “u-force” to 1, meaning the mesh surface cascades on the spherical balls slowly, creating a smooth finish.

In the project of Double Agent White, there are patternings on the exterior of its form, therefore we too, tried to create different patternings on our form by morphing a point grid onto the mesh surface in order to create a range of small flat surfaces to make the drape possible. Since the patterning was generate through functional purposes rather than organic geometry, the patterns were not adopted.

All in all however, this exploration was not quite successful becauase its form is not possible for fabrication. Although a similar form to Double Agent White is formed, however it is not possible to have the form maintaining its structure through fabrication because it will only print out as a two-dimensioned patterned grid with no form what so ever. Hence in our next exploration method we are breaking the model into two parts- structural and aesthetic facade.

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RIBS + PATTERNINGAttempt 2

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Our second exploration process involves the separation of stuctural form and aesthetical facades. In this section I will be discussing our process of developing the structual design. During our computative design process, we chose to begin with using varanoid cells as the basis of our structure because we wanted a “less- simplistic” form of ribs and foldings. Although goal for this section is to re-create our chosen project- Double Agent White, however we believe that this is part of creating our future final model as well.

We disected the essence of Double Agent White, into ribs and facade, which in return influence our design to our own form making as well. In relation to creating a differentiated environment between metropolitan and suburbia, By analysising Double Agent White we have decided to show this difference by relationship between relative simple structure to the more complex patterned facade. In the matrix on the opposite page, i have shown a variety of experiments three-dimensioned voronoi cell making in both the horizontal and vertical latitudes.

The images on the first row of the matrix shows broken ribs therefore will not be functionable

to our intentions. By connecting these ribs together, it forms a relative stable and tensil structure evident in the second row. The third row is experimenting with vertical protrusions in which it has the flexibility of different heights of the structural diaphram. For the re-creation of Double Agent White project, this height variation property helps to achieve its “minimum contact with” the facade, whilst maintaining its structural component. Here we are trying to draw relations between the project of Double Agent White and its influence in forming our design.

Furthering our research of ribs structures, we looked at spherical ribs and tubes because the form of Double Agent White is of cylinderical spheres. The first two images of row three indicates the use of tubes in various levels of complexity. Tubes is different to ribs because the grasshopper function that we created were not quite flexible in designing its joints and connections; its only adjustable feature was the number of tubes to form the spherical geometry. Comparing the two, the second one is relatively desirable for the next stage because the form of the shere is clear, meaning the patterned can be “draped” onto the surface easily.

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Ensure that all vertical and horizontal structures intercept each other.

Select any of these intersections as reference point

Extrude and thicken all horizontal strips thats has intersection like reference point

Extrude and thicken all veritcal strips thats has intersection like reference point

make a cube in the ribs intersection

extrude this cube on both sides of original cube (such as pinning through two elements)

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Through the management of many steps in Grasshopper, the production of ribs were the most sophistcated to drawn. We were confront-ed with many issues in the exploration process, yet the most difficult one to solve was the foma-tion of the rib notches. A simple generation of the notches is provided on the bottom of this page.

One of the featural essense of Double Agent White is its ease of construction, therefore in the process of rib and notches design we hope to have achieved its structural stability as well as ease of development. The form of the struc-tural waffle is also the basis of our design intent because it its structure will be gradually revealed as drivers drive past our structure. Updating on our desing process, unlike Double Agent White where its whole strucutre is hidden by its facade, in our project we will hide parts of the waffle structure to demonstrate the busy met-ropolitan, yet gradually revealing its structure, paraphrasing the important support of the sub-urbs in order to have such a outstanding CBD.

set slider to intersect these new generated cubes

delete original cube and decide to keep the top or bottom cube

Trim edges of ribs

Delete original cube and one of the protruded ones

Notches should now be visible on all intersections same as the reference intersection

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After the investigation in ribs and notches we realised that the voronoi three-dimensional base structure are too complex for the Double Agent White project. Voronois are random geometry generated by the mathematical calcuations according the number and spacings of our intial point references; therefore it is considered an organic pattern, similiar to the facade design in Double Agent White. The conventions involved influencing our decision of voronio patternings includes the negative and positive spaces

as well as its smooth finish to suit the original patterning. Our final stage of recreating the Double Agent White in the second attempt was combining structural ribs with the patterned voronoids. We found two methods in to achieving that: projecting and mapping to surface. However none of these reached our desired outcome because of time constraints and our understandings of the requoired elements. A simple flow diagram is provided to document the progression and outcome of our design.

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open 2D pattern and lofted surface directly on top

Hide surface and set pattern into Grasshopper

Offest patterns so that has a thicker dimension to it

connect these offseted curves and hide original

project verticles onto loft

project horizontals onto loft

project successful however, lines failed to connect

PROJECTION METHOD

MAPPING TO SURFACE

Fail result- sophisticated number of curves in between the two deisticnt elements

Indentify curves on pattern

Create surface directly on top of pattern

Map patten curves onto surface Output curves

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B4: Technique development Change In Brief

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After further research on the techniques investigated in B3: CASE STUDY 2 as well as a slight change in the brief presented, our design form has been modefied. To emphasis the idea of a border corssing, rather than have a physcial gateway and booth design, the new brief included the separation of given area into three distinct sections- gateway, no-mans and object. Morphed from our previous philosophies and precendent influences, our concept now is to emphasise the distinct differenct between metropolitan CBD and suburban area Wyndham City, yet reminding viewers the unity of these two at a different scale. This would be presented through the concept of action an abscence.

To create the innovative environment, our ideas were inspired by meteors and its movement across the Earth’s surface to create an “alienated lanscape” yet welcoming. The intended effect is to evoke curiousity and an after effect rather than creating a horrifying scenery to the lanscape.

Responding to our brief, our object will be invisible meteors which has fallen from outerspace and crashed onto the area of Wyndham. The impression of its fall is our emphised point in which “craters” are left behind as the evidence of its arrival. And the gateway that devides the CBD and the suburban is the imagery of its first occurance. The “no mans” land in between the two territories on either side of the border will be where our “alien lanscape” will be situated.

In this new designed brief and new form, we are continuing our innitial concept of complexity because its forms are open for interpretation- not menacing but greeted in surprise. By creating such a greeting statement, we wish to create an object that jolts the views into remembering their surroundings, and being aware and appreciate their surroudings by asking questions and evoke their personal expereinces. This design will encourage viewers to carefully observe the surrounding landscape whilst passing through.

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NICK VAN WOERT Motional Art

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By taking classical buts and turning them horizontally, dripping melted plastic on them, then standing the product back upright, Nick Van Woert has put a huge twist on something so well known and classical. Exploring in the fields of gravitational forces, the dripping plastic moves naturally in one direction and creates this sense of movement and dynamism in the work. With the bust standing upright, the direction of the movement has shifted from a gravitational pull to a horizontal plane. His designs not only explore in the gravitional force conventions but also the natural drip of plastic to create an uncontrolled result.

To assist our project, the uncontrolled result and deliberate rotation of his product to become final is what we are most interested

in. Uncontrolled actions result in uncontrolled results and this is the philosophical objective we are trying to achieve in our design. The sculpural representations of Nick Van Woert creates a sense of motion and speed in its outcomes due to the direction of plastic flow. This idea here ties our initial idea of speed and motion as well as the “pushed through” effect in our new developing model. By creating illusive images, it provides a direction for viewers to imagine and be effected by our intentions.

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JASON PAYNEDisco Balls

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In a similar vein, Jason Payne’s mirrored disco balls have create a totally innovative approach to something so ordinary. His distortion and alterations in its form and material have been its phenomina and excting qualities. Inspired by meteors and irregularities of outerspace (Kepford, http://cargocollective.com), it questions to the ideas as such , to what degree should it be similar if not the same. Payne explores these qualities by abstracting the scale of his objects and experinmenting the materials used.

His use of fragmented mirror elements is interesting because th effect it brings when light is reflected off it is immense. Most importantly is that its resulted effect relates directly with the emotional and experience of the users. Hence, this increases the value of its innvative design because users enjoy the different effect to what it can bring.

His ideas are similar to ours because the changes are subtle but the result is subjective and may be criticised by its alienated design. Our design too may cause unease for some because of its “alien” concept, therefore we are very careful in the production form and interaction in order to minimise the misinterpretaition by some viewers. We wish to capture a similar sentiment with our innovative lanscape and make suggestions to viewers to take a double take and keep them on edge.

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MATRIX 3.0New Concept Development

Similar to my other exploration matrixes, the matrix on the left is the process of finding the “best fit” model for our new brief and conceptual desires. Here we are attempting to explore the concept of action and abscence in physical form therefore in our matrix there are both the presentation of the resultant outcomes as well as the “invisible” objects that sets its natrual conventions.

Learning from Nick Van Woert, our proposed design is a representative of motion and action therefore the second line if the matrix is the result of separate particles. The geometry is a controlled feature yet its allocation and set at by the calcualtions of computative algorithms. Algorithm has surely assisted the development of our design because it had created a succession “illusion” of differently shaped “meteors” hitting into Earth’s surface.

The dints are in shaped differently because in

our “tale” that supports our design, is natural to have a number of differently shaped outspaced rocks. In the matrix, the direction of the dints are present in both on the internal and external of the sphere, whilstsome are even seen as a “second skin” to its original sphere. These are experiments to show how the random nature can create interesting patterns on planar surfaces.

Although the proposed models that we have at the moment are still in developement and can be modified into a more compat-ible form, we have chosen the model on the right for further development. Documenting its process, after we have developed its form with Grasshopper we sliced it in half so that the “craters” become visible, assisting us on the decision of its posistioning and prototype.

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b5: TECHNIQUE PROTOTYPECASTING VERSUS 3D PRINTING

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Although we have began our desgining process through investigating strips and folding, however as we explored further into its concept, the ideas of motion and subsequent complexity cannot be expressed in challenging terms. The result of strips and folding are relative simple to interpret, which we are trying to avoid. In response to the brief as well as our intention of the project, we wish our design to suggest various levels of interpretation due to viewers’ own

interpretation, hence our search for our second concept of action and abscence.

Furthering into our design prototyping, the most appropriate material used for our “craters” would be casting steel. Joints are not desired because it would effect the smoothness property on either side of the model. If in real life it is to be casted, it is only utilising the medthod of 3D printing as the device for erecting our prototype.

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b6:TECHNIQUE PROPOSAL Alienation Is Not What You Think

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We all have strengths and weaknesses in our designs yet the weaknesses can be improved by ongoing alterations and modifications. In our project, the philosophies behind are rich and the form is not only interesting, but is definately a scultpural development that provokes the emotions of viewers and travellers. The form contrasts distinctively with the natural landscape, and whilst travelling at 100km/hr, viewers will be influenced by its force attractiveness which are the predominant theories of our design concept. We believe that the romance between viewers and the sculpture is the most important rather than developing a product that does not embedd with the lanscape.

Our project is similar to “recreating” the landscape so seemingly it has been invaded and bombarded with meteors. However we avoid sharp edges and massive scales in order to create a welcoming gesture for visitors to Wyndham. Wyndham is a developing suburban area, therefore it is calling for a totally different experience for passerbys.

Enritched by precendent projects the “craters” are stood upright from the ground at different angles so that the idea of movement is catered across the lanscape. In our proposal too, this particular lanscape should be continued throughout the city of Wyndham so that the story of meteor invasion is rienforced.

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B7: algorithmic sketchesMESH BOOLEANS

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During the course of experimenting and exploring algorithmic functions to generate a digital prototype, I have became much more familiar with the Grasshopper plug-in for Rhino. Starting from scratch, all three of us in the group was clueless about parametric modelling, yet now produce some “juicy” models which are quite interesting. In this course of desgin, we started with the exploration of strips and folding, whilst looking at some biomimickry and tesselation voronoi techniques as well. The journey of creating ribs and notches were interesting and challenging at the same time, yet nothing was as exciting as touching on Kangaroo and its unique flexibilities. All in all however, it was the making of the Mesh Boolean that we used in our final design outcome which I enjoyed the most. The Boolean function in grasshopper had made it possible to translate our philosophical ideas into physical objects. A simplified version of the steps taken in this function is provided below.

smooth out edges

Set point in Grasshopper

Set mesh sphere at the point

Set mesh sphere at the point

Set Points on Mesh

Add sphere on points (adjust size and space)

BOOLEAN - extract or add spheres on original mesh

Join

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b8: LEARNING OBJECTIVES AND OUTCOMES

MID SEMESTER CRITIQUE FEEDBACK

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There are many things in which our de-sign can be improved to create a more dy-namic structure. The idea of it is interest-ing and evoking, however the form has not yet been developed enough to express these enthusiasms. After the mid-semester presentation, we had much valuable feed-back the next steps we can consider taking.

In our current model, there is too little geometry variety hence lacking in the explorations of possible outcomes. Although we have experinmented lightly with triangles however this area can be invested more because we believe it will give us the opportunity to produce more exciting matrix models, enhancing our final model in return. Also in the critique session, suggestions were made to inspire more precedent research other than just artwork and or real built works. The level of compexity

would increase if we can morph a pattern onto the interior or exterior of our Mesh Boolean Models. Since our conceptual idea is inspired by outerspace movements, lunar maps and asteroids can be used to generate further patterning opportunities.

The scale and location of our design needs to be considered and mapped out more thoroughly, to increase the the idea of random distribution and that various size and force is used to generate the dints on the mesh boolean. This can be achieved by doing experinments with dough and plaster, in which handfuls of objects are randomly thrown to encourage the harmony between random distrubution from a central point.

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BIBLIOGRAPHY

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BIBLIOGRAPHY

Komatina,Clumsy with words,http://aconstructionsite.blogspot.com.au/2012/06/design-course-at-chalmers-archipelago.html, 21-04

Recity, The Archipelago Pavilion,http://www.recitymagazine.com/project-775-marcus-abrahams-son-benoit-croo-the-archipelago-pavilion,26-04

Grozdanic, Archipelago Parametrically Designed Pavilion, http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/, 02-05

Bodas, ZA11 Pavilion, http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/25-04

Admin, Wooden Pavilion, http://www.evolo.us/architecture/parametric-designed-wooden-pavil-ion-in-romania-stefanescu-bedarf/30-04

Admin, ZA11,http://www.archiable.com/201107/110724_za11-pavilion.html\06-05

Co-de-iT, Loop_3http://www.co-de-it.com/wordpress/loop_3.html21-04

GROZDANIC, Loop_3 Installation Investigates Mathematical Trigonometric Functions, http://www.evolo.us/architecture/loop_3-installation-investigates-mathematical-trigonometric-func-tions/20-04

Grasshopper3D, Installation Loop3,http://www.grasshopper3d.com/photo/loop-3-installation-in-the-museum-of-byzantine-culture-in-1?xg_source=activity19-04

Università di Bologna, Loop_3 – Università di Bologna http://futuresplus.net/2012/11/05/loop_3-universita-di-bologna/11-05

Design Playgrounds, Canopy by United Visual Artists, http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/09-05

Artists, Uited Visual Artistshttp://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/03-05

Saieh, canopy toronto, http://www.uva.co.uk/work/canopy03-05

ESCOBEDO, Double Agent White in Series of Prototypical Architectures / Theverymany http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-thev-erymany/03-05

http://cargocollective.com/search/jason-payne04-05

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