Studio Air - Alison Fong 830833 Part B-2

B.4 Technique: Development

“They generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration, and the relationships between elements.”

- Peters 2013

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Case Study 2 Iterations 60

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The main selection criteria here is the basis to modify the exterior appearance of the model, but to also change the individual functions that are the main components of the model, for example the referenced curves.

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1 2 3 4 1 2 3 4 A 1of the polygon centre function, where the scaling induced 2 widening of the punctures in the model. This was one 3 4 and altered the Iteration A: Controllants of iteration A was the scale of the most simplest modifications in the iteration process mainA aesthetic element of the model, which are the openings of the structure.

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Iteration B: Controllants of iteration B, generated similar outcomes to A, which is interesting to contemplate on, as the alteration was using the surface divide function, where the number of divides was scaled. This made the nurb curves more rigid, as the scaling increased in value, and the openings similarly became more angular, till they were almost near identical to the referenced main curve.

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C Iteration C: This series featured different plug-ins of different 'Curve' functions, ranging from simply deleting the polygon center function to inserting others as an alternative. Some interesting seen was that some functions made the structure moreC regular than organic, for instance the addition of the 'Flip' function (second from left). This is one of the most successful iterations, as it alters the regularity of the organic structure in the unedited model, to a more unified geometry.

D C D D D E Iteration D: The referenced curve is changed in this series, using the graph mapper and voronoi component instead to map new curves. This series focuses on the Conic graph, where the scale of the graph is altered, these produced different patterns, that are then cropped into the rectangular boundary. This is somewhat semi-successful in that it still generates a similar outline or appearance, however the new patterning on the rectangle creates different organized openings, correlating to the argument made on patterning as a major result from technical D E innovation.

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Iteration E: Similar to D, instead the Bezier curve was used. This was interesting as some of the curves were trimmed off, making it an unclosed curve, and hence ended up becoming 'floating 2D elements' within the structure.

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Iteration F: This iteration focused on the minimal surface qualities of our model. Using the tensile and cell pattern functions, we changed several patterns at once, creating a more lofted and organized patterning. This is one of our most successful iterations, and we have chosen this as our prototype for the next part. Reflecting on how we would place it within context/site was another issue that we found to be influencing, as not only does appearance resonant with the viewer, but also depending on the pattern/ structure could be functional as well.

Iteration G: The use of flat voronoi grid and 3d voronoi grids are explored in this iteration, as the openings of the structure are tested to it's limits, we are able to see how the different curvatures again similar to iteration D and E can alter the patterning of the structure. These allow the structure to become more thin in material and appearance, changing the way we perceive the model. This is another successful iteration.

Iteration H: This series uses the irregular boundaries instead of a box to populate different curvatures, and is again testifying the limits to how the curves, which are the main components influence the structures. This however created almost non-identical structures to that of the previous iterations. Although this iteration has changed the most in appearance, it is not included as one of the most successful iterations due to the fact that we have completely altered the algorithm logic, rather than simply fine tune and maintaining the same pattern.

Iteration I: This iteration focuses on the minimal surface aspect of our design again, as we explore how Kangaroo can be replaced with other definitions. Kangaroo is the main plug-in that is used to explore minimal surface and material performance, however by using another plug-in we attempted to explore how closely similar the affects would be. This resulted in a similar curvature and shape from the original model, however as we modified the curves slightly, it generated a completely different design.

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Task 6 - “POETIC ARCHITECTURE” This building incorporates the poetic aesthetics from the extract of Italo Calvino’s “Invisible Cities”. Simillar to how the city was described as something unerasable from the mind, and that each point served as an “immediate aid to memory”. As a building it contains different levels and spaces, where each space contains a formable fabric piece, however as each piece is almost identical, it plays on the aspect of how the ‘city’ is something that contains different images, but could also rather be a replication of the same image, mirrored or resized..

Beyond six rivers and three mountain ranges rises Zora, a city that no one, having seen it, can forget. But not because, like other memorable cities, it leaves an unusual image in your recollections.

Zora has the quality of remaining in your memory point by point, in its succession of streets, of houses along the streets, and of doors and windows in the houses, though nothing in them possesses a special beauty or rarity. Zora’s secret lies in the way your gaze runs over patterns following one another as in a musical score where not a note can be altered or displaced. The man who knows by heart how Zora is made, if he is unable to sleep at night, can imagine he is walking along the streets and he remembers the order by which the copper clock follows the barber’s striped awning, then the fountain with nine jets, the astronomer’s glass tower, the melon vendor’s kiosk, the statue of the hermit and the lion, the Turkish bath, the café at the corner, the alley that leads to the harbor. This city which cannot be expunged from the mind is like an armature, a honeycomb in whose cells each of us can place the things he wants to remember: names of famous men, virtues, numbers, vegetable and mineral classifications, dates of battles, constellations, parts of speech.

Between each idea and each point of the itinerary an affinity or a contrast can be established, serving as an immediate aid to memory.

So the world’s learned men are those who have memorized Zora.

CAN BLANK SPACE BE REMEMBERED?

But in vain I set out to visit the city: forced to remain motionless and always the same, in order to be more easily remembered, Zora has languished, disintegrated, disappeared. The earth has forgotten her.

- Italo Calvino “Invisible Cities”

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