Digital Design - Module 02 Semester 1, 2019 Ziyuan (Helena) Cui 1067712 Tony Yu Studio 16
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Critical Reading: Kolerevic B. 2003. Architecture in the Digital Age | Chapter 3: Digital Production a) What is the significance of Frank Gehry’s project in relation to Digital Fabrication? Use an example to explain your point. Frank Gehry’s projects demonstrate that digital fabrication could offer design opportuni-ties within both schedule and considerable budget frameworks. For instance, the Nationale-Nederlanden Building (1996) in Prague, Czech Republic, built by Frank Gehry, has its exterior covered with irregularly shaped glass panels cut by digital-ly driven cutting machines. Instead of calculating the angle and shape of each piece of glass manually, complex geometries are not only describable and producible, but also built with a high degree of precision in fabrication and assembly with the use of digital design and fabrication.
b) What is the three dominant forms of fabrication technique outline in Kolerevic’s text? Choose one of the technique and expand on how this could be useful in design? The three fundamental types of fabrication are 1) subtractive, 2) additive, and 3) formative fabrication. Subtractive fabrication achieves a desired form by removing a specified volume of material from a larger piece of solid with milling and drilling in different axes. Usually, it is carried out by Computer Numeric Control (CNC) machining, which uses computers and robotics to assist the fabricating process with coded systems. Therefore, objects designed with parametric modelling will be produced more accurately and precisely and this process would be able to be repeated. Though milling undercut requires a more complex machine, it minimises the requirement of flipping a model block or build additional supporting structure.
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Critical Reading: Essential Algorithms and Data Structure, Rajaa Issa, 2020 a) When designing an algorithm, what is the 4-steps process? (no more than 50 words) The 4-steps process: 1. Clearly identify the desired outcome as output; 2. Identify key processes that generate the outcome; 3. Provide initial data and parameters as input; 4. Create intermediate steps to generate missing data.
b) Why is it necessary to organise your definition using clear labelling, groups and colour coding? By organising scripts with labelling, groups and different colours, different parts and processes of the code are visually distinguished. It allows others to quickly read the code and understand the algorithm. Also, it is easy to debug, reuse or modify a part of the code.Â
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Module 2 Reflection Questions: a) What is the key concept explored through your lasercut and 3d-print models? For this module, all my digital models are generated based on the key concept of hidden space. This concept drives me to have a close look at both the positive and negative spaces, that is, the solid that occupies the space and the void being left after certain volume is occupied.
b) What is the quality of the space generated in your design fragment? Consider this as a fragment of space and the scale is not yet determined, i.e. it can be 1:5 scale or 1:50 scale As the idea of hidden space was first emerged from cracks, angularity seems destined to be a constant quality of the spaces. Also, being comparatively dark provides a sense of privacy which also contributes to the formation of hidden space. There are various ways of being hidden, for example, blocking the view and integrating with numerous similar elements are two of them. The loose definition provides possibilities for the design fragments to be applied I different scales and orientations.
c) Consider this as a fragment of a pavilion design. Can you start to speculate on the threshold condition or possible means of circulating through your structure? Again, what sort of scale will your structure need to be? Being a part of a pavilion design, the fragment can either be the tiles that creates patterns for the pavilion or become the architecture itself. Since the volumes are mostly connected, the connections between volumes naturally form thresholds, and a dynamic circulation can be assumed, however, for the hidden space located close to the crack, a limited linear circulation will be formed.
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SUBTRACTIVE & ADDITIVE PROCESSES Solid Generation
The grasshopper script explosres iterations by finding interesting bit in a figure and develop based on it. It explores the gaps created during the process of additive and subtractive design process.
Create a 100x100x100mm bounding box and divide it into 3x3x3 grids to get the centroid of each cell.
Use the centroids as reference points for base planes to generate pyramids.
Rotate each pyramid on its centroid as well as around a certain axis.
Solid Difference and Solid Union in Grasshopper play the role of Boolean in Rhino, so that the volumes are taken out and the remaining are joined as a whole. Slightly move and rotate the iterations of the initial dipyramid so they become another group of subtractors.
Generate the initial dipyramid to cut from and the dipyramid as a subtractor for iteration.
Move the subtractors towards an attractor point and rotate them according to the distance between them to create asymmetric volumes.
Mirror and scale down each dipyramid to create a sense of iteration. This chunk can be clustered if further iteration is needed.
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Twist the figurearound the Z-axis which has the centroid of the figure as the origin.
SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix
The first part of the matrix uses a grid structure to generate pyramids and starts to explore the basic shifts in geometry by manipulating the data structure and rotations. 01. Data Structure
01.01
01.02
01.03
Number of Sides: 6 Width: 22 Height: 50 Data: both flattened
A sense of complexity is integrated with the geometry yet it is not making it redundant.
Data: both grafted
By grafting and flattening the data structure of the parameters (base planes and top points） referenced for the generation of the pyramids, the number of pyramids being generated varies.
02. Rotation: Centroid
02.a.01
02.b.01
02.b.02
02.b.03
start: 50° step: 20°
start: 50° step: 30° Most pyramids are rotated towards the same direction, thus forming a rather introverted space.
start: 50° step: 50°
start: 50° step: 115° The greater difference between each step disperse the top points for the geometry, weakening the thrust created by the pointy pyramids. The gaps become bigger void spaces, from which the concept of “hidden cracks” is emerged.
Pivot each pyramid on its centroid. By manipulating the angle of the rotation, a stack of pyramids can appear to be either introverted or opened.
03. Rotation: Axis
03.a.01
03.a.02
03.b.01
Axis: Z
Axis: Y
Axis: Z The gaps are compressed to a minimal level, which responds to the introvert quality of the space.
The rotation adds a bit of arbitrariness to the geometry as it breaks the original grid structure, makes the base for each pyramid more clustered. The angle of each pyramid also changes with the rotation.
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SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix
Based on the concept, iteration is applied to the pyramid as Based on the concept, iteration is applied to the pyramid as Based on the concept, iteration is applied to the growing method. Unlike another growingpyramid method. Unlikeas the another grid structure, the base another growing method. Unlike the grid structure, the base plane for each pyramid grows on top of an existing surface. In plane for each pyramid grows on top of an existing surface. In the grid structure, the base plane for each pyramid grows on top of an existing surface. In this this case, the grow method is more self-referential. this case, the grow method is more self-referential. case, the grow method is more self-referential.
04. Number of Sides
04.01
The more sides a (di)pyramid has, the more solid it would take and less gap is left in between, as it is more like a sphere.
04. Number04.02 of Sides
Number of Sides: 3 Though the gaps are less crack-like, the triangular pyramid allows the figures and the void spaces to be somewhat self-similar. The key quality of the figure slightly shifts from crack to a more general idea of hidden space.
05. Size
04.01
04.03
05.01
05. Size
Width: 12 Height: 90 The exaggerated height gives the figure a sense of thrust and linearity, which reminds people of a Gothic cathedral.
04.03
Number of Sides: 5 Number of Sides: 6 With more surfaces for each pyramid, the number of pyramids would grow in an exponentially, creating a greater sense of “wrapping around the centre.
04.04
Number of Sides: 4
Number of Sides: 5 Number of Sides: 3 Though the gaps are less crack-like, the triangular pyramid allows the figures and the void spaces to be somewhat self-similar. The key quality of the figure slightly shifts from crack to a more general idea of hidden space.
Number of Sides: 4
05.02
05.01
05.02
05.03
05.04
Width: 25 Height: 50
Width: 45 Height: 45
Width: 50 Height: 27
06.a.02
06.b.01
Width: 25 Height: 50
06. Iteration Time
06. Iteration Time 06.a.01
The number of times that a pyramid iterates decides whether the final outcome is more like a whole figure or a cluster of numbers of small elements.
The number of times that a pyramid iterates decides whether the final outcome is more like a whole figure or a cluster of numbers of small elements.
05.03
Width: 45 Height: 45 Width: 12 Height: 90 The exaggerated height gives the figure a sense of thrust and linearity, which reminds people of a Gothic cathedral.
Iteration: 3
By taking out certain volumes from existing substance, separated hidden spaces are created within each pyramid.
04.04
Number of Sides: 6 With more surfaces for each pyramid, the n pyramids would grow in an exponentially, c greater sense of “wrapping around the cen
Testing with different widths and heights for the initial pyramid. The variations in the size changes not only the scales, but also the angle between each surface, hence generating overlapping parts.
Testing with different widths and heights for the initial pyramid. The variations in the size changes not only the scales, but also the angle between each surface, hence generating overlapping parts.
07. Subtract Substance
04.02
The more sides a (di)pyramid has, the more solid it would take and less gap is left in between, as it is more like a sphere.
07.a.01
07. Subtract Substance 07.b.01 By taking out certain volumes from existing substance, separated hidden spaces are created within each pyramid.
07.a.01
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06.a.02
06.a.01
06.a.03
Iteration: 2
Iteration: 3
Iteration: 2 Iteration: 1 Without further iterations, there’s no redundant pyramids that may distract people, so the horizontal openings that cut through immediately become the point of interest.
Iteration: 3 Iteration: 1 The central pyramid has suchWithout a high further width/height iterations, there’s no re ratio that it wouldn’t be wrapped up by themay smaller pyramids that distract people, so the h ones and remains predominant. openings that cut through immediately the point of interest.
07.c.01
07.b.01
07.c.02
07.c.03
07.c.01
06.a.03
07.c.02
07. Subtract Substance
Iteration: 3
Iteration: 2
Iteration: 1 Without further iterations, there’s no redundant pyramids that may distract people, so the horizontal openings that cut through immediately become the point of interest.
Iteration: 3 The central pyramid has such a high width/height ratio that it wouldn’t be wrapped up by the smaller ones and remains predominant.
07.a.01
07.b.01
07.c.01
07.c.02
07.c.03
Number of Sides: 3 Width: 20 Height: 40 While a dome is created inside the thrust, forming an interesting quality, the orientation is quite limited.
Number of Sides: 6 Width:32 Height:25 It looks like interlocking chains from the outside, but the recursion of the initial hollow geometry only occurs on the outer surfaces.
Number of Sides: 3 Width: 25 Height: 50 Subtracting substance from only iteration dipyramid 1 (the central figure). The hidden spaces are becoming really difficult to access.
Number of Sides: 6 Width: 32 Height: 25 Taking out a volume from each dipyramid.
Number of Sides: 3 Width: 20 Height: 40
08.01
08.02
08.03
08.04
By taking out certain volumes from existing substance, separated hidden spaces are created within each pyramid.
08. Attraction Point Assign an attraction point for all the volumes taken out so that they would move towards the point and rotate a certain angle based on the distance between the centroid of the volume and the attraction point.
Most of the edges of the iterations are kept to maintain the dipyramidal structure while the opening on the surfaces blurs the boundary between the inner hidden space and the outward space.
09. Subtract: Mix
09.01
09.02
09.03
Subtractor 1: Width: 25 Height: 50 Rotation: X: -30° Z: 25° Subtractor 2: Width: 20 Height: 40 Point Attraction
Subtractor 1: Width: 25 Height: 50 Rotation: X: 31° Z: 50° Subtractor 2: Width: 22 Height: 50 Point attraction
Subtractor 1: Width: 25 Height: 50 Rotation: X: 13° Z: 80° Move Towards Centre: 5 Subtractor 2: Width: 22 Height: 50 Point attraction
Combining different results from 07 and 08, then rotating or moving some elements slightly to achieve the ideal mixture of hidden space and accessibility.
10. Twist
10.01
10.02
10.03
10.04
10.05
Angle: -180°
Angle: -82° Some of the original open space are twisted and thus the structures start to encircle the void, transforming “public” to “private”.
Angle: 60°
Angle: 90°
Angle: 120°
Through twisting, the figure gains imbalance. Curvatures are generated to reinforce the idea of “hidden” and to create some points of interest at the same time.
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SUBTRACTIVE & ADDITIVE PROCESSES 3D Printing
While the curved surfaces of my digital models are mostly NURBS in Rhino, that is, they are mathematical represented, the outcome was transferred into mesh as a STL file in order to be printed. As 3D printing is an additive fabrication process, material was adding layer by layer. To achieve that, MakerBot was utilised to calculate and slice the 3D model into 2D layers which would be filled by printing material. To make the fabrication more efficient, the directionality of model can be crucial. By positioning the hole in the model vertically, less supporting material as well as printing time is required. The intricacy of the figure can also significantly affect the printing process. Too many tiny details and overhanging parts not only could require more time and material, but also more manual labour would be required to clean it up after the 3D printing.
3D printing models and the models with supporting material
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SUBTRACTIVE & ADDITIVE PROCESSES
Key Iterations
Iteration 1: Matrix 02.b.03
Iteration 2: Matrix 09.03
Iteration 3: Matrix 10.02
By rotating the grid-based pyramids around the individual centroid, the base planes remained stable yet the irregular hidden cracks were created by intersecting pyramids.
This iteration captures a mixture of additive and subtractive designing methods applied for the iteration process. While the figure is grew out of an initial geometry, some volumes were manually taken out from the solid. Both strategies allow the gaps and voids to be created. During the process, the leading concept was updated from “crack” to a more general term “hidden space”.
Based on the last figure, key iteration 3 was generated through twisting. Twisting not only gives a taste of curvature and playfulness to its form, but more importantly, generates more hidden space by means such as blocking view with its curved arms. The arbitrariness of twisting also breaks the symmetry of the figure and thus makes the space more unpredictable.
Instead of the solid itself, the focus was put more onto the idea of the negative space created by the solid, and hence the concept of “hidden crack” emerged from this iteration.
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SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing
The cracks on different surfaces are actually connected by the hidden space. A sense of continuity is therefore articulated.
The boundary surfaces is quite smooth, which contrasts with the clustered-columns-like surfaces that bounds the inner volume.
From the above, people can only see a clean crack, whereas the volume inside is much bigger than it seems.
The lack of penetrations makes the space much darker, making the space private.
Key Iteration 1 Section Cut 0 Scale 2:1
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10
20
40 mm
SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing
The crack from iteration 1 is delivered similarly. The almost parallel lines create a spot of geometric interest.
Privacy is maximised at the corners of the angular mass because the lack of light and the the surrounding circulation is limited to a linear way.
A small threshold that connects two volumes is generated where two volumes only partly intersect.
Some fragmental pieces are generated at the edge where two volumes touch, therefore spaces of different scale emerge.
Key Iteration 2 Section Cut 0 Scale 2:1
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20
40 mm
SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing
Both structures have a tendency of going upward, but the fact that the clustered mass mainly concentrates at the bottom intensifies the heaviness of the structure.
The volume is bounded from various directions, leaving a zigzag and uneven path as the entrance, which maximises the privacy by reducing accessibility.
All the hidden volumes are connected, allowing a greater possibility for thresholds and circulation.
Key Iteration 3 Section Cut 0 Scale 2:1
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40 mm
SUBTRACTIVE & ADDITIVE PROCESSES 3D Print Photography
Scale: Architecture
Scale: Furniture
Scale: Tile/Texture
The block is scaled in the size of a pavilion that human body can fully fit into the hidden spaces, which are the key focus during the iteration exploration process. The taken out volumes provides both overhead covers and planes allowing people to sit.
Since the block is cut out by a bounding box, the cutting sections are destined to be planar surfaces. This quality allows the block to be regarded as a furniture on which objects can be placed, however, considering that the cracks break the top surface into several small pieces, the amount of the objects and the sizes are limited. The hidden protrusions, in this case, provide extra safe spaces for storage.
The irregular curved surface gives the block possibility of being regarded as a tile that can shape a pattern. The blocks are approximately the size of a hand and arranged so that the main hidden spaces meet and the extended arms encircle the linear space forming a protective manner. In this image, a wine rack is used as an example.
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SECTION & WAFFLE STRUCTURES Study Area Analysis
By choosing this key iteration as the study area for task B, there are three interesting qualities that I would like to further explore: 1. Hidden space. As the prime concept that runs through the whole process of task A iteration, it will still be one of the focuses for task B. I hope the privacy of hidden space can be maintained while allowing more penetrations with waffle structure.
2. Gap. In the solid block, the gap frames the shape of light that gets through and attract people’s attention at the first sight, therefore, I was wondering if this gap can be integrated with the openings of the waffle structure without being belittled.
3. Curve. While it can help to generate stronger sense of hidden space, the curvature itself is a key element of geometric interest as well, not to mention its intersection with the gap. It is almost certain that this curve will be broken up in some degree with the application of waffle structure, so how to maintain the continuity will become a focus.
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SECTION & WAFFLE STRUCTURES Sectioning Script
Deconstruct the brep to get the two edges that bond the central gap selected. Project them to the XY plane as the starting line for the contour.
Generate lines which are long enough to cut through the whole figure and offset the lines to create the contour lines. Tween curves are generated for the in-between contours.
Extrude the rectangles along the intersection lines and cap holes to create cutters.
Move the lines along the Z axis and loft them to create the planes that cut through the geometry. Brep | Brep to find the intersection as the contours.
Get the intersection lines, generate vectors using the end points of each line and thus create the rectangles at the middle of the curves.
Final XY waffles. Get rid of any small pieces accidentally cut off by the notches.
The X and Y contour surfaces.
Create a bounding box based on the selected study area from task A. Deconstruct the brep to get the Y contour starting plane. Then use contour to generate the contour lines along the tilted Y axis.
Trim solid to generate the contour surfaces with notches.
Get rid of the pieces that are too small using larger than to compare the area and then dispatch the list.
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Layout for laser cut labeled with text tag. The labels are generated by concatenating text labels with a series of integers.
SECTION & WAFFLE STRUCTURES Model Details
Top: When the structure is located with its extended arm pointing towards West, the shadow of the structure can greatly shift through out the day. Left. 9AM: The light is able to pass through the holes and illuminate the hidden space. Middle. 12PM: The shadow concentrate at the middle of the structure. The entire space is covered by shadow. Right. 3PM: Only the hidden space is under the shadow with a triangular light pattern on the ground as a result of light passing through the gap.
Left: Elongated cutters are made for the pieces that have multiple notches in a line which are quit close, so that the constructability of the waffle pieces are improved.
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SECTION & WAFFLE STRUCTURES Laser Cutting
Some of the big pieces could share their long straight edge to make the cutting more effective as well as to save material.
600.00
The labels are etched on each piece so that some similar pieces would not be confused after being cut off. Similarly, for the pieces with extremely thin part and have the risk of breaking, the labels are etched on both side of the possible breaking point. All the waffles have at least one side being etched rather than cut to ensure that they do not fall apart from the cardboard after the laser cut. These edges can be easily cut with a knife and avoids the need for tape.
Layout for laser cut
900.00
Scale 1:4 @ A4
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SECTION & WAFFLE STRUCTURES Isometric Drawing
The first iteration of waffle structure is a tilted XY orthographic waffle. WY waffle structure retains the sense of privacy of the hidden spaces in the study area as people can only see through a XY waffle from Z direction. In fact, the deeper the wholes are, the narrower the perspective is needed to see through. Therefore, by rotating the Y waffles on X axis for 45°, the depth of the wholes are maintained while allowing more penetrations for light. However, tilting the panels means some small chunks which used to be connected to the main body by thin joint are not connected anymore.
The key gap is able to cut through an entire tilted Y panel perpendicularly. A contradiction is formed between the whole panel and the dense waffle patten revealed by the gap.
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Scale 2:1
XY Waffle 1 0
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Scale 1:1
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SECTION & WAFFLE STRUCTURES Isometric Drawing
Though being broken, the curvature is still an emphasis in this iteration. The tips of the angular panels are becoming bigger and the distances between two tips are minimised to convey the continuity of the curve.
The X waffles are further arranged and hence acquire the quality of a radial waffle. The centre of the radial is located at the end of the extended arm where the gap merges so the gap will not be broke by any panel.
The lack of orthographic structure gives the structure a sense of unbalance that may stop people from staying for a long time and encourage the circulation.
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Scale 2:1
XY Waffle 2 0
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Scale 1:1
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SECTION & WAFFLE STRUCTURES Lasercut Model Photography
With the Y waffles being tilted, the surfaces on which people can lean on are provided. However, the lack of horizontal surface limits the way of human figure occupying the space and therefore encourages a more active circulation.
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Since the hollow sections formed by the radial-XY waffle structure have a strong directionality, a focus point is generated from and only from where the view would not be blocked by the waffle structure. This is also the point where the structure “disappear” and becomes a 2D grid. With the acknowledge of this interesting visual phenomenon, the waffle is scaled to a similar height of an adult so that most of the people can have the access of the “waffle-disappearing” view. It provide experiential opportunities for people to walk around the structure to engage with it and appreciate the beauty of the structure
Appendix
The Sight of Disappearing Waffle
Various views of the waffle during the rotation. The waffle structure seems two dimensional when viewed from the focus of the radial panels and peroendicular to the X waffles.
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Appendix
Radial Waffle Analysis A radial waffle structure was tested before the second waffle iteration was generated, but the outcome was not satisfactory as if failed to emphasise some of the key focuses for the study area. The space close to the ring, however, is well transformed. The shape of the opening on each panel echoes as if it is welcoming people to get close and explore.
The shift between each panel is continuous, the vertices beautifully articulate the uplifting main curvature. This may be improved by increasing the low density of the panels.
The continuous volumes under the shell make it rather difficult for the conjunction rings to be located. Although the corner is a feasible location, the number of panels that can be attached to a small ring is quite limited, which leads to a great loss of details from the study area. For instance, the original key crack is now merely a buttress-like panel.
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Appendix 3D Printing Test
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1: The model to be printed. There are two main spaces in the model: one is the cut through at the middle, the other is a dome underneath. 2. Printing without any modification causes a long printing time, of which a great amount of material was used for supporting. 3. Rotation: Y axis 180° Time: 3h 12m The dome volume is exposed on the top so that it does not need material to support anymore. 4. Rotation: Y axis 90° Time: 2h 59m The holes are positioned vertically to reduce the unnecessary supporting. 24