Daniel Chow Journal Part B

STUDIO: AIR Journal

Daniel Chow 617929 Semester 2, 2017 Tutor: Caitlyn

Contents Part A. Conceptualisation A.1. Design Futuring

Case Study 1 Case Study 2

A. 2. Design Computation

Case Study 1 Case Study 2

A. 3. Compostion/Generation

Case Study 1 Case Study 2

A. 4. Conclusion A. 5. Learning Outcomes A. 6. Appendix - Algorithmic Sketches

A. Conceptualisation

Introduction

My name is Daniel Chow and I am an aspiring architect. Having studied under the Bachelor of Environments in the University of Melbourne for two years now, I realize that architecture is more than just design but a way to express individuality and ideas through a realm of forms and materiality.

Growing up, I have always loved building design but also just design in general. There is always something about design that leads to endless possibilities which allows for freedom in everything that we do.

Prior to this, I have taken Studio: Earth and Studio: Water which have been a great pathway into architecture. By studying tectonics in Studio: Earth, it has allowed me to dig deeper within the surface to explore different qualities that I would not have thought of before. Studio: Water tackles architecture in a more realistic manner as opposed to the abstract approach that Earth has taken. Nevertheless, it still taught me to explore different boundaries but in a more practical notion.

With Studio: Air, I hope to achieve an even broader scope that I have never explored before. The ideas that are generated through Grasshopper will expand my knowledge of digital design through computation.

Being from Singapore, I am surrounded by modern architecture that is heavily based on sustainability and technology. To me, architecture is an ongoing process that will be ever evolving.

A.1. Design Futuring After all that we have been through, we as human beings have exploited planet earth by using every means of resource available to us. We must tackle the future with means that have not done so before.

By looking at design through sociology, we have the ability to open our minds to produce before even producing to subconsciously design something of a free nature. ‘Design Futuring’ must sustainably bring us to a newer habitat without compromising on the remaining resources available to us. We need to be aware that design is more than just skin deep, it hides the identity of the object. By capitalizing on sustainability, we can pave a pathway towards a future with freedom. The key to good design involves acknowledging a form of intelligence through searching deeper within an entity.1

The ideas to create new designs should come from our imaginations in the possible future to understand what suits us best. By using means like probable, plausible, possible, fantasy and everything in between, we can dig deeper to widen prospects that increase our chances of a better future. Critical design dares to challenge to status quo by questioning and deliberating that goes beyond criticism in a positive way. It involves using design through emotions instead of words to convey a message across.2

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 2 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 1-9, 33-45 Image Source: http://zenbullets.com/prints/img/LP27_31_s0.jpg 1

Case Study 1 Lady Cilento Children’s Hospital Lyons and Conrad Gargett South Brisbane, Queensland 2014

The Lady Cilento Children’s Hospital focused heavily on salutogenesis whereby the building would integrate unity and intelligibility to allow for its occupants to recover in a different manner. It was a revolutionary approach to medical buildings to consider spatial and form factors as opposed to the sole focus on medical treatments for one’s recovery. With the involvement of the hospital staff, Lyons could design in a manner where scenarios could be better predicted to suit each patient. The incorporation of greenery was not only used in the form of roof gardens but also metaphorically with the design of the interior mimicking a tree with branches and trunks. With medical research done, the hospital featured specific colours and patterns to soothe each patient’ anxiety. The exterior adopts to the climate with specific openings to allow the right amount of light and shade into the building. Although this was the first Australian building to adopt this design, Alvar Aalto’ Pamio Sanatorium has done it more than 80 years prior to this project. With that being said, the Lady Cilento Children’s Hospital has proved that salutogenic design has been beneficial not only to the medical patients but also to architects as it reached out to new possibilities that could pave future building designs.3

Lyon, Corbett (2017). Humanist Principles, Sustainable Design and Salutogenics (John Wiley & Sons Ltd.), pp. 56-65 Image Source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.2106/epdf Image Source: https://s-media-cache-ak0.pinimg.com/originals/c5/f5/9f/c5f59f92054bce0db468951543cced83.jpg Image Source: https://static.dezeen.com/uploads/2014/12/Lady-Cilento-Childrens-Hospital-by-Lyons_dezeen_3_1000.gif

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Interior View

Elevation View

Perspectives

Case Study 2 Tower on West 57th Street (‘The Khaleesi’) Mark Foster Gage Architects New York City, New York 2015

Artist Impression

4 Gage, Mark (2016). Aesthetics as Politics: The Khaleesi Tower on West 57th Street, NYC (John Wiley & Sons Ltd.) pp. 26–33 Image Source: http://static2.businessinsider.com/image/5672ec6bdd089529598b468c/this-ornate-concept-skyscraper-was-inspired-by-game-of-thrones.jpg Image Source: http://imgur.com/96n6R6X

Artist Impression

Gage argues that today’ architecture has become too clinical and in other words, boring. We live in an age where technology has the ability to create buildings of infinite ideas but are too engrossed with functions and green standards.

Taking inspiration from the Miesian gods, the tower features intricate detailing with a host of entertainment facilities. Gage believes that things are about to change with architects slowly inclining to look towards the bigger picture that goes beyond diagrams and connotations.

While I personally do not find this building appealing as it is does appear as a case of style over substance, I do agree with Gage that architecture has become repetitive.

However, I do believe that sustainability and program are fundamentals when designing a building. But I feel like Gage is talking about something of a more important scale as this project does not resolve any of the issues but opens our imagination toward an almost utopian like setting.

Although not necessarily a good idea, it sure is a bold one.4

A. 2. Design Computation

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 6 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Image Source: http://payload.cargocollective.com/1/0/9123/1643720/broccoli_1000_400___1000.jpg 5

Digital technology has allowed man to work in an enhanced manner through the means of computing which is an ever-evolving flow of design theories and evaluation. Parametric design has opened new possibilities to for architect to modulate and create various procedures to design beautiful forms. I believe that parametric design has that much of an impact as it has made geometric relationships approachable without the need to feel intimidated. One may see it as intricate and complicated shapes but at the same time, the design process becomes redundant as the computer practically does the work for you. It makes you look at hand drawings from a different perspective, where architects can feel and express their ideas fresh from the mind to paper as opposed to keying in a series of codes to let the computer indirectly take over your vision. We live in an era whereby major architectural and engineering companies have their own geometrical computing division that focuses on digital design to create performance orientated architectural ideas. Because of the technology of computing, we now have the ability to configure the composition of material designs as tectonic designs. In doing so, this has re-defined the way we look at architecture as a practice based on materials but rather a transition to digital materiality.5

Even though computers have the intellect to basically think, work and store solutions for us, it still needs us humans to tell it what to do. This indirectly tells us that computing does not affect our design process as it still comes from our brains first. However, we depend on computing for large and complicated tasks in which the human brain lacks the ability to process as fast as its technological counterpart. I personally find this statement somewhat biased. We live in an age where many technological firms invest largely in artificial intelligence and the ability for machines to think and predict is readily available now. In this regard, computer aided designs bring about interesting opportunities with the ideology of connecting humans with one another as it forms as a medium to which the designers are associated with.6

Case Study 1 NGV Pavilion Studio Roland Snooks + RMIT University Melbourne, Victoria 2016

Designed by Studio Roland Snooks and RMIT University, the NGV Pavilion was designed around the theme of mass. It draws inspiration from the past by looking at intricate detailing and heavy decoration. Through the use of computational technology, this structure evokes the character of digital fabrication process with minimal human interference.

Made of a fibrous body that revolves around the flow of our atmosphere, I believe that technology has come so far ahead that the process to create something beautiful would be nearly impossible to achieve without the aid of computing. The way the pavilion was designed reinforces my point I just mentioned. Instead of taking the ordinary route of path tracing, the approach took to mixed geometries to widen design pathways. This allows for an indefinite volume to further emphasize the complexity of this project.

Although the form does not seem to have a definite language, the purpose of this pavilion was to capitalise on character and the operation of algorithm.

This case study has made me realise that computing design can portray just as much emotions as any other method for creating, that there is still a need for process from start to end.7

Snooks, Roland. (2016). Affects of Intricate Mass (John Wiley & Sons Ltd.) pp. 26–33 Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4826a4b3a21/57960c6f59cc68a490d8f9dc/1469451391553/studio+roland+snooks++ngv+pavilion.jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4826a4b3a21/56c10dc1b6aa602ff3941510/1455492549250/jpg-01-2.jpg?format=1000w Image Source: http://www.bollinger-grohmann.com/data/images/bg_project_pic/file/default/a-013-16_ngv-pavilion-snooks-3.jpg

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Perspectives

Case Study 2 Ray and Maria Stata Centre Frank Gehry Boston, USA 2004

As technology gets more advanced, we not only have more time for ourselves but also the freedom to program machines to our liking. The creation of the Ray and Maria Strata Centre took inspiration from us humans and decided to pivot towards an autonomous technique for its construction. The design compromises of multiple shapes forms made from various materials to produce an almost intimidating building. This parametric building had the slab and faรงade scanned but were assembled by hand to cut costs as well as creating different variations on the spot. This method of autonomy could revolutionize the engineering industry. We can see how computing can help us both financially and in terms of time management but I think a larger number of firms might adopt this idea as it is almost an indirect concept of modulation and mass production.8

Simondetti, Luebkeman and Gereon Uerz (2017). An Autonomously Crafted Built Environment (John Wiley & Sons Ltd.) pp. 120-127 Image Source: https://c1.staticflickr.com/6/5263/5889788402_265b78e7e7_b.jpg Image Source: https://c1.staticflickr.com/6/5675/20887173512_2557d37631_b.jpg

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Perspective

Perspective

A. 3. Composition/Generation

The word ‘computing’ is generally tossed about but it refers to a medium in which architects use to in a three dimensional manner. Much like a mathematics formula, an algorithm compromises of a list can be altered by the user, resulting in a vast amount of variations. This is not necessarily a good or constantly innovating through the aid of algorithmic thinking and parametric modelling. However, w will be ever evolving as we are intrigued of what machines are capable of.10

Abu Dhabi Performing Arts Center, Zaha Hadid

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 10 Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Image Source: http://www.turiscom.org/media/turismo/images//2016/01/04//2016010421513596844.jpg 9

draft and experiment with ideas. Algorithmic thinking goes one step beyond that by approaching it t of commands that will be pre-determined by the computer. But as with any formula, the outcomes bad thing but rather a fundamental way of designing. In today’s competitive industry, architects are we as humans are constantly exploring to find new means and it goes to show that computerisation

Case Study 1 Self-Assembly Lab Massachusetts Institute of Technology (MIT) Massachusetts, USA 2014

The process of computational design has evolved from a mere on screen model to actual physicality. The Self-Assembly Lab explored forms that revolve around our surroundings with the assemblage stage controlled by computers. The generative approach has been tackled by the lab with large scaled materials that is based on the environment to create self-assembled compositions. With components like texture and geometry in play, it could vary the structure through multiple patterns.

One of my favourite examples from the lab include the Self-Assembly chair. The chairs took to an arbitrary complex assemblage that is made of plastic with 3D magnet connectors that is specific to each male and female bonding counterparts. The pieces were placed into a bowl filled with water where each component linked to each of the allocated piece within a matter of seven hours.

Although this was done on a small scale, it tells us that the future is here and I am excited to see how this form of technology advances to something of a bigger scale.11

Papadopoulou, Laucks and Skylar Tibbits (2017). From Self-Assembly to Evolutionary Structures (John Wiley & Sons Ltd.) pp. 28–37 Image Source: http://generva.com/5/2015/11/architecture-designs-that-assemble-themselves-self-assembly-furniture.jpg Image Source: http://files.tested.com/photos/2015/04/28/55-73339-screen-shot-2015-02-17-at-12-1430259219.png Image Source: https://i.ytimg.com/vi/Bnj1sPfo4Ek/maxresdefault.jpg

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Self-Assembly Chair

Case Study 2 Ore Fashion Stores SPAN (Matias del Campo and Sandra Manninger) Shanghai, China 2015

This project focuses on how ornamentation often has a bad stigma attached to it but with the aid of algorithmic design, the ornaments used today are a substantial part of any form. Today’s designers focus on computational specific algorithmic that are capable of solving issues. The Ore Fashion Stores features 3D printed pavilions that are made of concrete. The interesting thing about this is that it’s equally as detailed as a handmade object. We have progressed so much in the past decade that standardized shapes and sizes are no longer a hindrance to design digitally. This goes back to my saying that computational design has opened so many pathways for architects to design and with the intelligence of computing combined with the creativity of the human mind, we can achieve revolutionary products.12

Carpo, Mario (2016). Excessive Resolution: From Digital Streamlining to Computational Complexity (John Wiley & Sons Ltd.) pp.78–83 Image Source: https://s-media-cache-ak0.pinimg.com/originals/e1/85/dd/e185ddaf31474476d1dc1c92bd674781.jpg

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Perspective

A. 4. Conclusion The world of architecture has been greatly influenced by algorithmic design. Through the intense use of technology and computing, we have curated a new form of design ideology by using algorithmic to explore new dimensions in architecture.

From sustainability to artificial intelligence, the ideas that revolve around algorithmic design are endless. Although many buildings are criticized for employing similar algorithmic techniques today, there are still many approaches we have yet to discover. In the next few weeks, I intend to focus on nature and the surrounding environment as my design approach as I feel that it provides a stark contrast between the organic nature of life and the virtual life in the digital world.

A. 5. Learning Outcomes Over the past three weeks, I have been exposed to a language of architectural design that I would not have dared approach prior to this. Algorithmic design has opened new possibilities that have never occurred to me before. Throughout my years as an undergraduate, my design language have been limited to geometric shapes that revolve around sharp and angular lines.

The use of Grasshopper has allowed me to break that rhythm to explore curved surfaces for a change. This will allow my designs to reach new horizons with the addition of infinite shapes made possible by digital computing. Not only has Grasshopper helped me design extraordinary forms but it also teaches me how those forms are made in a systematic manner. Much like a formula, it requires multiple steps before a final product can be determined.

I am excited to see where the rest of semester takes me both in terms of my digital skills as well as my understanding of design.

A. 6. Appendix - Algorithmic Sketches

I chose these box morph sketches as it is the most intricate and detailed sketch that I have done to this date. It is interesting to see how much of a difference the base form and colour can make such a big impact to the general atmosphere to each curve. I chose three different materials as the weight and texture differs significantly from each other. It just shows us how limitless our options are in this program.

Bibliography Carpo, Mario (2016). Excessive Resolution: From Digital Streamlining to Computational Complexity (John Wiley & Sons Ltd.) pp.78–83 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 Gage, Mark (2016). Aesthetics as Politics: The Khaleesi Tower on West 57th Street, NYC (John Wiley & Sons Ltd.) pp. 26–33 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 Lyon, Corbett (2017). Humanist Principles, Sustainable Design and Salutogenics (John Wiley & Sons Ltd.), pp. 56-65 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Papadopoulou, Laucks and Skylar Tibbits (2017). From Self-Assembly to Evolutionary Structures (John Wiley & Sons Ltd.) pp. 28–37 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Simondetti, Luebkeman and Gereon Uerz (2017). An Autonomously Crafted Built Environment (John Wiley & Sons Ltd.) pp. 120-127 Snooks, Roland. (2016). Affects of Intricate Mass (John Wiley & Sons Ltd.) pp. 26–33 Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

Image Source: http://zenbullets.com/prints/img/LP27_31_s0.jpg Image Source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.2106/epdf Image Source: https://s-media-cache-ak0.pinimg.com/originals/c5/f5/9f/c5f59f92054bce0db468951543cced83.jpg Image Source: https://static.dezeen.com/uploads/2014/12/Lady-Cilento-Childrens-Hospital-byLyons_dezeen_3_1000.gif Image Source: http://static2.businessinsider.com/image/5672ec6bdd089529598b468c/this-ornateconcept-skyscraper-was-inspired-by-game-of-thrones.jpg Image Source: http://imgur.com/96n6R6X Image Source: http://payload.cargocollective.com/1/0/9123/1643720/broccoli_1000_400___1000. jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e 4826a4b3a21/57960c6f59cc68a490d8f9dc/1469451391553/studio+roland+snooks+-+ngv+pavilion. jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4 826a4b3a21/56c10dc1b6aa602ff3941510/1455492549250/jpg-01-2.jpg?format=1000w Image Source: http://www.bollinger-grohmann.com/data/images/bg_project_pic/file/ default/a-013-16_ngv-pavilion-snooks-3.jpg Image Source: https://c1.staticflickr.com/6/5263/5889788402_265b78e7e7_b.jpg Image Source: https://c1.staticflickr.com/6/5675/20887173512_2557d37631_b.jpg Image Source: http://www.turiscom.org/media/turismo/images//2016/01/04//2016010421513596844.jpg Image Source: http://generva.com/5/2015/11/architecture-designs-that-assemble-themselves-selfassembly-furniture.jpg Image Source: http://files.tested.com/photos/2015/04/28/55-73339-screen-shot-2015-02-17at-12-1430259219.png Image Source: https://i.ytimg.com/vi/Bnj1sPfo4Ek/maxresdefault.jpg Image Source: https://s-media-cache-ak0.pinimg.com/originals/e1/85/dd/e185ddaf31474476d1dc1c92bd674781.jpg

Part B

Criteria Design

Contents B. 1. Research Field B. 2. Case Study 1.0 B. 3. Case Study 2.0 B. 4. Technique: Development B. 5. Technique: Prototypes B. 6. Technique: Proposal B. 7. Learning Objectives & Outcomes B. 8. Appendix – Algorithmic Sketches

B.1. Research Field

Iwamoto, L. (2013). Digital Fabrications: Architectural and Material Techniques. Princeton Architectural Press.

Tessellation A fabrication form that compromises of multiple pieces that continuously join with one another to create a surface free from apertures. Due to the its design, this technique can be varied and explored infinitely. Tracing its roots back to ancient times, it was originally used in hand applied techniques like mosaic tiles and stained glass to create a spatial experience from the architecture. Moving forward to today’s digital age, tessellation can be explored in a much more sophisticated manner. By analyzing case studies Voussair Cloud and VoltaDom, we can infer how tessellation can be applied in different scenarios (Iwamoto, 2013).

Voussair Cloud. (2008). Retrieved from https://iwamotoscott.com/projects/voussoir-cloud.

Image Source: https://iwamotoscott.com/thumbs/projects/voussoir-cloud/isa_vc_16-1280x853.jpg Image Source: http://cdn.thinglink.me/api/image/289420232982790144/1240/10/scaletowidth Image Source: https://iwamotoscott.com/thumbs/projects/voussoir-cloud/isa_vc_10-1280x509.jpg

Voussair Cloud Iwamoto Scott Los Angeles, CA, United States 2008 Designed for the Southern California Institute of Architecture gallery, Voussair Cloud digs into the patterning of compression to enhance the space in the gallery through a series of vaults. Made of a light weight material, each of the five columns consists of triangle-like shapes that are nestled between the vaults and walls. Inspired by Frei Otto’ hanging chain models, the cloud employs the Delaunay technique found in Grasshopper. This results in a compilation of “voussoirs” that are denser at the bottom before fading into larger surfaces as the vault reaches the ceiling. The sculpted surfaces are connected by cable wires via laser cut holes found along its edges. By bending alongside the columns, the “voussoirs” provide a seamless connection throughout the entire structure. The combination of paper-thin luminous wooden pieces and carefully placed pores results in an illusion of airiness and vibrancy as the sun hits inward all while still being cocooned in a sophisticated space (“Voussair Cloud,” 2008).

VoltaDom Skylar Tibbits Massachusetts, United States 2011 Made for MIT’ 150th Anniversary, this high gloss white structure explores a fabrication process that known as surface articulation and paneling. Similar to the Vossair Cloud, this tessellation technique involves curved porous surface forms that was inspired by traditional cathedrals and vaults. Although aesthetically complicated, VoltaDom essentially compromises of solid strips that have been twisted and adjusted into curved vaults. Being accessible from both its interior and exterior, it immerses the viewers in its entirety (“voltaDom: MIT 2011,” 2011).

voltaDom: MIT 2011. (2011). Retrieved from http://www.sjet.us/MIT_VOLTADOM.html.

Image Source: https://fabiap.files.wordpress.com/2011/01/volta-presentation221.jpg Image Source: https://farm3.staticflickr.com/2090/5705657144_36c0ced888_b.jpg Image Source: https://arts.mit.edu/wp-content/uploads/2015/01/10859395255_a8179ca3e8_o.jpg

B. 2. Case Study 1.0

Definitions jitter and cull patterns were added to create a more diverse look

Cull multiple Booleans were alternated with true and false

XYZ units were added/removed to the culling to create varied patterns

XYZ vectors were altered to the U force to create wider/taller/deeper iterations

Iterations Voussair Cloud Iwamoto Scott

All but the Z value was eliminated on one of the cull patterns to create this streak of light illusion

XYZ vectors were altered to the U force to create wider/taller/deeper iterations

XYZ units were added/removed to the culling to create varied patterns

Kangaroo plug-in was used to create morphed aesthetics

Iterations Voussair Cloud Iwamoto Scott

Selection Criteria

This was made using the WeaverBird plug-in. The geometric form tied in with the frame effect perfectly to create a form that is both confident and aggressive.

This form was chosen due to its unique tower like stature that gave the impression of empowerment.

Thi still a ve

is iteration seemed interesting as one could l see the curves and form of the cloud but in ery different manner. It has been morphed to an almost tree-like structure.

With long rays reaching into the air, this light beam like form gives the illusion of an object that has been projected down.

B. 3. Case Study 2.0

EXOtique Projectione Muncie, IN, United States 2009 Located at the Ball State’s College of Architecture, this digitally fabricated white acrylic and polystyrene structure ‘floats’ in the air.

Designed using Rhino and Grasshopper in a period of six days, the hexagonal panels are made using unrolling techniques that are connected by a series of lightbulbs and wires. This results in a form that is highly flexible and unique with an arrangement that looks distorted yet fluid (“Exotique,” 2009).

Exotique. (2009). Retrieved from http://www.arch2o.com/exotique-projectione/.

Image Source: http://www.arch2o.com/exotique-projectione/ Image Source: http://www.arch2o.com/exotique-projectione/ Image Source: http://www.arch2o.com/exotique-projectione/

Reverse Engineering - EXOtique, Projectione Step One – A set of 3 curves were drawn in Rhino to form a lofted surface.

Step Two – Using the Kangaroo plug-in, hexagon cells were employed to create a grid of 28 X 28 hexa Step Three – From this, a curve and points are created to be split into separate Culls Patterns.

Step Four – The Cull definition is used on the curve to eliminate the rectangular border around hexago

Step Five– The cull definition is then used again for the points with a scale of 0.2 to create the perforat Step Six – The merge function is used to combine both the hexagons with the perforation details.

Step Seven – However, as the perforation details differ in size, I thought that limits could be pushed fu Step Eight – Both curves are combined to create the intricate perforated look.

Step Nine – The curve is then lofted and made into a mesh.

agons.

ons on edge.

tions in the hexagons.

urther. A controller point has been added using the functions of ReMap and Construct Domain.

Process

one

two

four

five

seven

eight

three

six

nine

Reverse Engineering Final Product

B. 4. Technique: Development

Cu

Hexagon pattern has been alter Alterations made to the U and V values

Alterations made to the U and V values

ull points were added in to be merged with

red

EXOtique Projectione

Scale of first curve altere

Domain values altered

Alterations made to the U and V values Domain values altered

ed

EXOtique Projectione

Scale of curves altered

Domain values altered

50 iterations have been created to completely transform EXOtique into an entirely different structure. Nearly unrecognizable on whic its based on, Ever iteration has been pushed to its limits with plug-ins like WeaverBird aiding this.

EXOtique Projectione

Selection Criteria

This iteration employs the geomtetric look that is almost in an X like manner.

It looks heavy on its sides yet light on its upper and lower body panel.

This structure conveys the idea of mass and how layering adds depth and weight into a structure. This dense form has wing like sides giving it a wide stance.

Being very different from the previous two, this form is highly elegant and gives the impression of it just wafting around seamlessly.

This iteration is all about the contrast between the smooth lines of the surface and the sharp spikes. The combination of this gives it a relaxed yet dangerous appearance.

B. 5. Technique: Prototypes

We knew for prototyping we needed to keep it simple and more used this part as an opportunity to familiarize ourselves with the fablab, materials and laser cutting machine to then explore further. Our key focus that drove our thought through prototyping was the fact that the site is the human body and therefore as the human body moves it must also move. We went about having simple planar and tessellated shapes for ease of fabrication having used the laser cutter. We decided on form through our precedents and the culmination of both of our reverse engineered case study projects. With that said, all prototypes made are fully adaptable to the skin that are multi-functional.

Left: Kayla trying on the piece as a form of armour

Our project are small prototypes that will come to influence a garment. Our main focus for this was to explore connections and flexible materials that would adapt to the human body and allow for movement.

Above: Kalya and I taking photos of the protoypes

Prototype 1

This black piece is made of armoury. Each hexago the amount of outcomes case, we made it into a fo

of perspex and represents a form on has a hole on its side to maximize s from a design perspective. In this orm of a shield for one’s back

Prototype 2

Made of propylene, it allows for easy movement. We didn’t want to make something that was static as this will eventually turn into a garment we wanted the form to move as the body moves in an unrestricted way.

Prototype 3

This used an interlayering technique to creating a 3D look that almost represented snake scales.

As this is just a preview to something we might create, it gave us the oppurtunity to explore with interlayring.

The Site Melbourne University Carpark

Petit Pli Clothing

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B. 6. Technique: Proposal

Precedents

Iris Van Herpen

In a post-apocalyptic world, man has lost its place at the top of the food chain. With scarcity of food and minimal resources, the human species is no longer the hunter but the hunted. This goal for this proposal is to design post-apocalyptic armour that acts as a protective shield between our soft bodies, forces of nature and predator. Let the games begin.

The armour adheres to the tessellation method that we have exploring throughout Part B. This technique will be employed to design our armour in accordance with the needs over different areas of the body. We plan to make the garment an upper body piece that extends to cover the entire neck area. As different parts of body contain flexible and rigid parts, the use of different materials will be necessary for the armour to reach its full potential both functionally and aesthetically. For example, the torso area would be designed with rigid parts to provide heart and organ protection.

Whereas the shoulders and other joint areas will allow flexible parts for ease of movement. The key features of our garment are the use of layering and flexibility. Like we previewed in our prototypes, the layers will function as protection and to maximize impenetrability while flexibility optimizes for rapid movement like attacking.

As the concept revolves around survivability, this garment will not only protect the user but give it the strength and confidence one needs in this mad world we live in.

By combining both of our reverse engineering designs, we were able to create concepts of armour that became a hybrid of both forms.

Possibility 2

Possibility 1

B. 7. Learning Objectives & Outcomes

Throughout the five weeks since the submission of Part A, I feel like it has been intensive journey to get to where we are today.

Although the iterations have been time consuming and complicated, I'm glad that these tasks were set out as it pushed me to explore Grasshopper to the best of its limits.

By doing this, it made me realise how versatile Grasshopper is and how applicable it is to future works.

The reverse engineering section made me use the knowledge learnt through the past weeks as well as doing my own research to better enhance the final structure.

The prototypes also gave us more exposure to use the resources in the FabLab. I am thankful that the guest critic gave constructive feedback and also pushed us to specifically lean in to a concept. This made the proposal for Part B that much clearer to envision and made me more confident to proceed toward Part C.

B. 8. Appendix – Algorithmic Sketches

Bibliography Iwamoto, L. (2013). Digital Fabrications: Architectural and Material Techniques. Princeton Architectural Press.

Iwamoto, L. (2013). Digital Fabrications: Architectural and Material Techniques. Princeton Architectural Press.

Voussair Cloud. (2008). Retrieved from https://iwamotoscott.com/projects/voussoir-cloud.

Exotique. (2009). Retrieved from http://www.arch2o.com/exotique-projectione/.

Images https://iwamotoscott.com/thumbs/projects/voussoir-cloud/isa_vc_16-1280x853.jpg http://cdn.thinglink.me/api/image/289420232982790144/1240/10/scaletowidth https://iwamotoscott.com/thumbs/projects/voussoir-cloud/isa_vc_10-1280x509.jpg https://fabiap.files.wordpress.com/2011/01/volta-presentation221.jpg https://farm3.staticflickr.com/2090/5705657144_36c0ced888_b.jpg https://arts.mit.edu/wp-content/uploads/2015/01/10859395255_a8179ca3e8_o.jpg http://www.arch2o.com/exotique-projectione/ http://www.arch2o.com/exotique-projectione/ http://www.arch2o.com/exotique-projectione/ http://www.alteredimages.com.au/personal/ https://www.dezeen.com/2017/07/05/ryan-mario-yasin-petit-pli-clothing-expands-fit-children-growroyal-college-art-design-graduates/#/ https://www.dezeen.com/2017/07/05/ryan-mario-yasin-petit-pli-clothing-expands-fit-children-growroyal-college-art-design-graduates/#/ https://www.dezeen.com/2017/07/05/ryan-mario-yasin-petit-pli-clothing-expands-fit-children-growroyal-college-art-design-graduates/#/ https://www.vogue.com/fashion-shows/designer/iris-van-herpen