Journal | Headspace

Amanda Ngieng Student Number: 377998 Semester 1/2010 Group 6

DESIGN INFLUENCES AND PRECEDENTS: Engender – design process, physical modeling and sketching in architecture Architecture design process

Sketches are one of the first few steps of the architectural design process, and are where ideas emerge from.

Sketching is a form of representation, usually used in conjunction with other design representations. Sketches are quick to do and use few resources – suitable for exploring ideas and putting ideas on paper. The image on the left is a concept sketch for World Trade Center Tower 2, part of the plans for reconstruction at Ground Zero.

The process of designing a building/structure usually consists of 4 design phases – programming, schematic design, design development, and construction document. It should be noted that while information and decisions made in the one of these phases forms the basis of the following phases, it is usually not a linear process. It is common to move back and forth between the phases to allow ideas from more detailed designs to influence and modify the overall design direction.

Programming Phase Here the set of needs or “program” that a building needs to fulfill is established, and the problems determined.

Schematic Design Phase Here, solutions are made for the problems determined in the previous phase. During schematic design, the focus is on the "scheme", or overall high-level design. Minor details are ignored in the focus to create a coherent solution.

Fig. 1.1

Scale models are another form of design representation.

These models can be handmade, or computer generated. The image on the left is a detailed scale model made by an architectural scale model studio, known as G.T. Scale Models Inc.

Design Development Phase Here the scheme from the previous phase is refined.

Individual attention is given to each aspect, each space and each detail of the project.

Construction Document Phase Here all information necessary for construction is provided.

The focus is on communicating the design.

Fig. 1.2

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DESIGN INFLUENCES AND PRECEDENTS: Digitise – digitisation used in architecture and design Using architecture software such as Total 3D Home and Landscape, by simply drawing out the plan view of the building, a virtual form of the building can be generated. This helps in the visualization of the actual building before it is built, and allows for correction.

Fig. 1.3

Fig. 1.4

Fig. 1.5

Fig. 1.6 Guggenheim Museum

Digitisation is often used in architectural practice to rationalise complex structures, especially curved surfaces such as those in spheres or spirals. Since the building blocks used to build the structures are often manufactured by machinery, Fig. 1.7 Beijing National Stadium

by digitising the model, the different parts of the model can be inputted and programmed into the machinery.

This allows the parts to be machine-constructed, which saves time (as compared to building by hand) and has high precision.

Fig. 1.8 Esplanade, Singapore

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DESIGN INFLUENCES AND PRECEDENTS: Fabrication – digitally-enabled fabrication techniques in architecture The types of digital fabrication techniques include sectioning, tessellating, folding, contouring and forming.

Fig. 1.9 Airspace Tokyo

Fig. 1.10 University of Technology in Sydney

Fig. 1.11 P_Wall

Tessellation Technique

Folding Technique

Forming technique

This is an image of Thom Faulders’s screen façade for Airspace Tokyo. This façade is made of laser-cut aluminium and plastic composite, containing four different overlapping organic patterns.

An example of a structure created by a folding technique is shown above. The structure consists of 3,500 recycled cardboard molecules, arranged in an interpretation of Cartesian space. It was created by Chris Bosse and the students at the University of Technology in Sydney

This structure is known as Andrew Kudless and Matsys’ P_Wall. This project investigated the self-organisation of two materials, plastic and elastic fabric, to produce evocative and acoustic effects. Through the use of custom rhinoscript, the desired image could be transformed into constraint points – points that constrain the elasticity in the fabric formwork and hence give the form its shape when plaster is poured into the mould.

Fig. 1.12

Fig. 1.13

Fig. 1.14

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ENGENDER: Design Process - steps 1 Think up of a theme and items that relate to the theme.

2 Search up an image of the item

Pick an item

Theme: Casino/Gambler Items: - Dice - Cards - Poker Chips - Roulette - Mask - Black Jack - Texas Hold'em - Sunglasses - Risk

3 Do an abstract drawing

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Written request: “The headpiece should be suitable for a fancy hat party. I want something that has relevance to my life at the casinos.

Fancy, funky or elegant styles all suit me. It should be able to draw attention.�

Make a clay model of the abstract

If all or most of the items have gone through steps 1-4, move on to step 5. if not, return to step 1.

5 The process I've used to design my model is similar to the process shown in the first page of this project.

Programming Phase First I begin by deciding on the theme, and think up a written request from a client.

Schematic Design Phase Items that relate to the theme are listed out, and quick design ideas for

Search up buildings with a similar structure

each of the items are done.

Design Development Phase An idea is picked and refined. Focus is placed on the structure of the material.

The construction document phase is not necessary in the design process as the construction method is already set out and will be further explored in the next 2 chapters.

Repeat cycle until satisfied with design 6 Recreate model, taking in consideration the structure of the building 4

ENGENDER: Steps 1-4 – abstract drawing and model making

Fig. 2.1

A number of different abstracts were done, but due to lack of space, they were omitted.

This is the abstracting process of a roulette, which is the chosen item after all the other items were done.

1. Roulette spinning round and round

Based on feedback from tutor, the main changes that should be made are: - The head-wear should not simply sit on the - head - The middle portion of the hat is too literal and - should be removed.

The main structure that the further developments will be based on would be circular structures – mainly swirls or spirals.

2. There is a centre mass in the middle as well as the handle, that are both spinning as well.

4. Attempting to express the excitement when the roulette is spinning

5. Attempting to express the tension and the risk

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ENGENDER: Steps 5-6 – further research and model making A large number of circular structures can be found, 3 of which are shown on the left.

Clay models were made in an attempt to create and design the headwear that will be fabricated in the later stages.

Fig. 2.2

Fig. 2.3

Fig. 2.4

Three designs (none of which is the final one) are shown on the right.

The first design attempts to pull the original design over the head and remove the centre mass. However, the resultant design was far too complicated to make out of paper, and I disliked the design.

The idea was discarded.

The second design is easy to make using clay, and looks nice and simple. However, it is very difficult to draw contours on, and will be fairly difficult to digitise. There is also no guarantee that the structure will be able to self sustain itself when it is made of paper.

The third design made use of the circling of 2 staircase (image on top left of page) to form it's design.

This makes it more interesting than wrapping one tube around the structure. However, I disliked the gap made for the eyes, and I felt that this head-wear looked far too much like a building.

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ENGENDER: The Chosen Model – images and discussion This design combines the second and third designs together. Instead of leaving gaps as in design 2, the tubes are pressed together and slightly flattened. The double wrapping of tubes as was done in design 3 was done in this design.

Admittedly, this structure is very smooth and round, and kind of resembles a soft serve ice-cream.

Nevertheless, this design looks possible to create and is appealing. It will not be as smooth when digitised; however, the resultant texture is likely to be interesting as well.

Although I began designing by drawing sketches, once I have decided on spiral structures I only used clay models as the form of representation, as I felt that it was quicker and more accurate than sketches.

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DIGITISE Drawing Contours Editing Contours Digitising Correcting Simplifying Elaborating Prototyping

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DIGITISE: Contouring – drawing the contours

A string was used to cut the model as it could cut it cleanly.

Lines 5 mm apart were drawn on a piece of paper. The lines drawn on the clay were drawn when my eyes were directly above the model. They were drawn in a way to “connect” the lines on the paper through drawing lines on the clay.

After all the lines were drawn, each clay piece were placed flat on the group and photographed front and back, with a scale behind each one.

The contours were then traced from the photographs in Adobe Photoshop Elements. The scale was moved closer to the contours. Additional lines were estimated and added to the contours.

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DIGITISE: Contouring – editing the contours Having many different parts could result in lots of problems when joining the parts together in SketchUp, as they will most probably not join together properly. In order to solve this problem,the contours were edited and modified before being put into SketchUp. By joining the contours together now, the need to join them when digitising in SketchUp later is removed.

1. All the different parts were placed as separate layers into Adobe Photoshop Elements. Each part was rotated to become upright.

2. The parts were than matched. Contour lines were joined where appropriate. Some of the contours had to be extensively modified in order for the model to fit together.

Lots of decisions had to be made during the modification of the contours. The original clay model had to be referred to frequently to assist in making these decisions.

After some time, the 8 parts were reduced to only 3. As they were now all of the same size, only one scale was retained. This scale will be used to scale all of the 3 parts in SketchUp.

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DIGITISE: Using SketchUp – digitising and correcting

These are a bunch of corrections that were made.

The contours were not perfect and so the model was a little out of shape.

This is correcter by rotating the contours are parts of the model.

Care was taken to ensure that the rotation does not cause overlapping faces.

Areas of the model was straightened and simplified, while details were added in other areas.

Just as digitisation in Architecture, digitising the model allows us to see how the model will look like when the faces are triangulated.

Digitizing the model allows us to view the model from all angles and make changes to it before the model is actually constructed. By correcting the model before it is constructed, it saves a lot of time.

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DIGITISE: Prototyping – creating a prototype

A prototype was made to see if the model could self sustain it self, as this is not possible to check in SketchUp. Lots of errors were made when crafting the prototype. The size of the prototype still looked a little too big. If the whole model was made it would be rather huge, even if it was to enclose the whole head.

The folds were not clean on this prototype as they were continually folded wrongly.

When nesting and printing the pieces, I did not take note in which direction the pieces were facing. This resulted in confusing when folding the pieces.

It took around 6 hours to unfold the model and print it. This include the time spent learning the unfolding and nesting process. It took me about another 6 hours to cut out the pieces and put the model together (this took longer than it should as the faces were not printed correctly, nor were they labeled).

The model had no trouble sustaining itself despite being made of paper of normal thickness.

All in all, I am certain that it is possible to craft the model. The model looks a little out of shape, and should be a little rounder.

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DIGITISE: The Completed Digital Model – images and discussion

Why the prototype was necessary A prototype was made to see if the model could self sustain it self, as this is not possible to check in SketchUp.

Faces: 1281 Edges: 1942

It is used to check if anything has been overlooked, such as the scale and shape of the model. It also estimates the time needed to fabricate the model. Although the model has a large number of faces, doing a prototype of the top of the model convinced me that it was possible to make the model within the limited amount of time given.

Constructing a prototype also familiarises you with the techniques of fabrication, hence speeding up the process later.

Moreover, whatever mistakes that might be made in the fabrication process later will most probably be made now. This saves time and resources.

Although time-consuming the prototype was most certainly an essential part of the digitisation/fabrication process.

Comparison with digitisation used in Architecture Just as how the dimensions of the faces in the digitised structure allows it to be constructed by machines, by using SketchUp, I too am using the dimensions of the faces in my digitised model, which I can use to craft the model by printing, folding, cutting, and putting together.

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FABRICATION Separating Parts Flipping Faces Labeling Faces Unfolding Nesting Testing Scale Printing Drawing Tabs Cutting Folding Pasting Comparison

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FABRICATION: Separating, Flipping and Labeling – preparation before unfolding

After the separation of parts, before unfolding, it is necessary to flip the faces so that the faces and facing the correct direction. This is essential in unfolding.

Before unfolding, the model was broken up into a number of parts. This would be helpful in the later stages of fabrication.

By separating the parts, it allows the labeling and unfolding process to be much clearer. The model can also be built in those parts.

Labeling the model in a systematic way will be extremely useful when building the actual model. The 3D text tool is used for labeling.

A labeling system is established and the whole model was labeled in this manner.

The labeling system can be anything as long as it makes sense to the user.

The labels were then rotated so that they aligned with the edge.

Starting from the bottom and going up, the faces were labeled systematically, using a combination of letters and numbers.

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FABRICATION: Unfolding, Nesting and Testing – preparation before printing The model has been labeled and is unfolded in strips. The Unfold tool was used to unfold the object.

A prototype of the inner part of the model was made and used to check if the model is of the correct size and shape.

Using strips may mean that the will be more tabs and more faces to join, but strips are much more logical and are

The inner shell of the model is unfolded, nested into A4 pieces of paper, printed out and put together quickly.

easier to place. It makes it makes it easier for nesting, and also when creasing the folds and drawing tabs.

It was difficult to tell if the actual model will fit my head, as the paper was flimsy and would not hold up. But it was roughly correct, so no adjustment was made.

Before unfolding, all the labels had to be exploded. If the labels are not exploded, they do not unfold with the faces.

When unfolding, the labels still get left behind, but their outline stays on the face, which is good enough.

Note: this check should have been done before unfolding, so that in the case where the model is still a little out of shape (e.g. too wide), it can still be corrected, If the model has already been unfolded, the only thing that can be adjusted is the scale.

A0 sheets of paper are chosen for printing on as they are bigger, as well as cheaper , than using multiple pieces of other sizes. It also saves paper and reduces confusing when finding the pieces to stick together.

Although the paper is size A0, the card need not be the same size. The faces can be separated manually later on.

As I had already nested the inner part of the model into A4 pieces previously, and has run out of space on the 2 pieces of A0 paper I intended to use, I decided not to include them in the A0 sheets.

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FABRICATION: Physical Modeling – drawing tabs, cutting, folding, pasting Press hard when folding down each tab.

Lightly press to fold the lines of the faces. It is necessary to constantly refer to the digital model here – some faces are folded outwards, while some are folded inwards.

As suggested in the seminar, an (empty) ballpoint pen is used to make the indentation on the card. Press the pen down hard when tracing the lines to make the indentation.

Paper clips are used to hold the paper in place. Working under a light such as those from table lamps is helpful as the shadows make the indented lines easier to see. Ensure that all the lines have been indented well before removing the paper.

A tool can be used to press areas that are hard to reach.

However, clips are much more useful, and can save a significant amount of time. It is strong in holding the faces together and applies pressure at the correct areas. Some clips were left in the model to strengthen the model – especially the parts where the weight of the model will rest.

These indentations will make the folds later on much cleaner.

Tabs are drawn for every edge. To save time, it is not necessary to draw each tab perfectly. The tab is more for showing you where to cut, as the indented lines are rather hard to see.

The labels on the printed faces are transferred to the tabs of the card.

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FABRICATION: The Completed Model – a comparison The Clay Model

The Digital Model

The Fabricated Model

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FABRICATION: The Completed Model – images and discussion

Digital Modeling

Physical Modeling

Takes time to create.

Takes time to create.

Relatively easy to make changes to the structure (orientation and size of faces) to the model.

Relatively difficult to change the general structure of the model, but certain modifications (e.g. cutting shapes in faces) can be done.

Is used to allow for mass production of the object/structure – the unfolded pieces can be inputted into machinery and be mass produced.

It is difficult to recreate an exact replica without the actual dimensions.

Although these dimensions can be obtained by measuring the model, in the case where there are thousand of faces this is near impossible.

Allows for the actual model to be seen from all angles before materials are actually used to make the object/structure.

Materials will have to be used to construct the object/structure before its entire form can be seen.

Once completed the object/structure still cannot be used yet.

The object/structure can be used immediately afterward (provided that it was constructed correctly).

It is difficult to tell if the model will be able to self sustain itself when constructed, as gravitational forces and other factors do not apply here

Whether or not the structure can self sustain itself is apparent once the structure is completed. It is also possible to gauge this during the construction process, as pieces are added together and tested.

Costs include the time spent and the cost of the software.

Costs include the time spent, cost of the machinery and materials used.

Fig. 4

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REFLECTION Engender

Digitise

In this module, I have learnt how to develop a design proposal using sketching, physical modeling and prototyping.

Sketching was particularly useful in the first few stages of the design process, where I still had little to no idea about what to design. It is also used to create abstract drawings of the items. Based on these abstract drawings, the clay model can be made. Once the spiral structure was determined sketches were no longer done, as manipulating the clay was a better way to explore the possible designs and further develop the model.

In this module, I learnt how to contour and digitise structures. I found contouring extremely tiring. Parallax error tends to be the problem most of the time, resulting in contours that were not very accurate.

However, these problems were easily corrected digitally.

My form-making processes were rather limited. Mainly I just drew a number of sketches and manipulated the clay according to my whim, while keeping in mind certain ideas and restrictions created in the previous stages. I did not really try the various techniques including additive, subtractive and modular.

Actually having a design process and documenting it was new to me. I have always thought that design was fueled by inspiration. However, I now understand that just having inspirations is insufficient. In the real world, designing buildings, landscapes and other structures will have to conform to the needs and wants of the client. The building has to serve its purpose and fit in the theme other than simply looking good.

Inspirations are important, but there are also constraints, and these I have to take into consideration when designing.

I found the 1:5 scale inaccurate. A better way to do this would be to get the actual dimensions of the head. By using a SketchUp plugin to draw an oval sphere to represent the head with the actual dimensions, it make the size and shape of the model much more accurate. A SketchUp model head can also be used.

Physical prototypes are also good in the checking of the scale. In fact, creating physical prototypes is an important part of the digitising and fabrication process – see page 13.

It annoyed me that I could not just flatten the faces so that I could create a face without triangulating it. I had actually wanted to create a model with square/rectangle faces, but after a number ofattempts to do so I gave it up.

Digitisation is very useful in communicating designs. The model can see seen from different angles in the digital word, giving clients as well as builders a clear idea of what is to be constructed. It also reduces material waste as no materials are needed to make a digital model.

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REFLECTION Fabrication

Conclusion

Labeling and unfolding the model was extremely time-consuming. I could probably have reduced the number of faces that I had labeled. In looking for shortcuts to unfold the model, I stumbled across the software Pepakura. With just one click, the model was completely unfolded.

However, the faces were all jumbled up and there were no labels on the unfolded model. There might have been a way to control the way the model unfolded as well as to label the model, but I did not persist in learning the software and returned to SketchUp.

Although proud of the completed model, I realise that it does not actually conform to the theme. It may be attention grabbing but has little relation to casinos and gambling, apart from obstructing the facial features of its wearer. It also represents a helmet. I would have preferred the headwear to be more elegant, and not have the swirls ending so abruptly.

Piecing the model together was terribly time-consuming as well. Using clips sped up the fabrication process significantly.

Without the clips, it might actually have been impossible to complete the model, as there were areas in the model which I cannot reach by hand, where a lot of pressure had to be applied in order to keep the tabs glued together. Piecing the inner part of the model to the outer part took the longest, as the areas that needed pressure were all very hard to reach. Even with the use of clips it was a difficult task to piece these two parts together.

Nevertheless, I am pleased to see that the model looks almost exactly the same as the digital model (refer to page 18 for the comparison). I could see that the large number of faces have contribute to keeping the soft shape of the model, and was glad that I did not further simplify the digital model and reduce the number of faces.

If I were to give a formal name to the model, I would call it “Crème de la crème”.

Digital fabrication is increasingly being used in design professions. Because of digital fabrication, amazing forms could be constructed, which would have been more or less impossible to construct by hand.

Laser cutting is commonly used to mass produce products.

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REFERENCES

Information in p.1: Architectural Design Process . (n.d.). Retrieved May 30, 2010, from architypes.net: <http://architypes.net/pattern/design-process> Information in p.1: World Architecture. (n.d.). Sketches. Retrieved May 30, 2010, from World Architecture COMMUNITY: <http://www.worldarchitecture.org/theory-issues/index.asp? position=detail&no=339&ref=ri&rel=7> Fig. 1.1: Craven, J. (n.d.). World Trade Center Tower 2. Retrieved May 30, 2010, from About.com: Architecture: <http://architecture.about.com/od/worldtradecenter/ig/World-Trade-CenterPlans/Tower-2-Sketch.htm> Fig. 1.2: G.T. Scale Models. (n.d.). ARCHITECTURAL. Retrieved May 30, 2010, from G.T. SCALE MODELS INC.: <http://www.architectural-scale-models.com/home.html> Information in p.2: Magermans, A. Architecture and Cyberspace. Intelligent Agent , 4 (3).

Fig. 1.3-1.5: Individual Software Inc. (n.d.). Total 3D Home Design Deluxe. Retrieved April 20, 2010, from TopTenREVIEWS: <http://home-design-software-review.toptenreviews.com/total-3dhome-design-deluxe-review.html> Fig. 1.6: Architecture List. (n.d.). Fatcs of Frank Gehry Architect. Retrieved April 20, 2010, from Architecture List: <http://www.architecturelist.com/wpcontent/uploads/2007/10/cid_bilbao_004.jpg> Fig. 1.7: Vivek. (n.d.). Beijing 2008 Olympic begins and inspire the world :). Retrieved April 20, 2010, from I2fly: <http://blog.i2fly.com/wp-content/uploads/2008/08/beijing-national-stadiumbirds-nest2.png> Fig. 1.8: Andrew, M. A. (n.d.). durian. Retrieved April 20, 2010, from M A ANDREW PHOTOGRAPHY: <http://www.picturesforwalls.com/blackandwhite/singapore/images/durian.jpg> Information in p.3, Fig. 1.9-1.11: Regine. (2009, September 24). Book Review - Digital Fabrications : Architectural and Material Techniques. Retrieved May 30, 2010, from we make money not art: <http://we-make-money-not-art.com/archives/2009/09/book-review-digital-fabricatio.php> Fig. 2.1: Cell Phone Slots. (n.d.). http://www.cellphoneslots.com/mobile/roulette/. Retrieved March 23, 2010, from Cell Phone Slots: <http://www.cellphoneslots.com/mobile/roulette/> Fig. 2.2: Adria, M., Forster, K., Jackson, D., Migayrou, F., Sudjic, D., Baeza, A. C., et al. (2005). 10.10_2 100 Architects 10 Critics. London: Phaidon Press Ltd. Fig. 2.3: Portoghesi, P. (2000). Nature and Architecture (First Edition ed.). (G. Bigatti, Ed.) Italy: Skira Editore S.p.A. Fig. 2.4: Slessor, C. (2000). Contemporary Staircases. (K. Seymour-Ure, & P. Warren, Eds.) London: Mitchell Beazley.

Fig. 4: Original image from St.annes on sea. (2010, March). SHOP GIRL To Stylist. Retrieved March 23, 2010, from ELLEuk.com: <http://shopgirl.elleuk.com/contestants/courtney-davison>

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