Air Journal by Jiaqi Mok

2016, SEMESTER 2, TUTORS: Caitlyn Jiaqi Mo 716101

PART A. CONCEPTUALISATION A.0. Introduction A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Outcome A.6. Appendix - Algorithmic Sketchs

A.0. Introduction

FIG.1: STUDIO EARTH: A PLACE FOR KEEPING SECRETS

Hello I am Jiaqi, a second year architecture student at the university of Melbourne. I have done studio earth and digital design and fabrication for the last semester. After studying the subject digital design and fabrication, my knowledge of using digital modeling tools, especially Rhino, have been improved a lot. Furthermore, with the digital design theory background and the focus point on transforming digital modeling into the actual fabrication of this subject, it evokes me to start interesting in the influences that digital design has brought to not only the designers, the architecture industry but also the society. Inshort, I am excited to explore my computation design skills to the next level.

FIG.2:DIGITAL DESIGN AND FABRICATION: THE FLOATING POD 4

CONCEPTUALISATION

A.1. Design Futuring How could a secured future be designed? According to Fry1, the increasingly serious condition of unsustainability has pushed human beings to a critical point that would threaten our existence. The ongoing future for human beings is predictable and hopeless if we remain unchanged. In this case, he argued that ‘design futuring’1 should satisfy two requirements: not only should it slow down the accelerated condition of unsustainability, but also, more importantly, it should redirect us human being toward a much more sustainable path to the future.

“designers should become the facilitators maintainable ‘things’ such as discrete products or images” --- John Wood

Design has the nature ability to “shapes the form, operation, appearance and perceptions of the material world we occupy”1. It is our designers’ responsibility to fully realize the potential changes or directions we could make or lead the society to. In this case, there is no doubt that sustainability awareness should permeate our design process. Computation design approaches, which is definitely the ongoing trend for future, would be illustrated and discuss how this advanced technology design process would cause huge influences on sustainable future thinking in the case studies. Furthermore, as mentioned in the week I lecture, “designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images”15 Indeed, in order to overcome the challenges we faced today, attitudes, values, beliefs and behavior need to be switched. 2 Architecture should not limit us just focusing on thinking of buildings, but rather, we should open our mind and speculating how things should be, not just buildings but also our city, society and our future. 2 Paying attention to what’s our contemporary need and desires for the place we living in, architectures should be those pioneers that draw the outlines of future and provide different perspectives so that we can learn something from it and hopefully close up the gap between reality and the utopia we both dreaming about.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162.

2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

15.Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

Project Name: ICD/ITKE RESEARCH PAVILION 2011 Architect: ICD & ITKE Location: University of Stuttgart, Germany

This pavilion has a sea urchin like skeleton look. It was developed as a project that using the computational process to design and invest a biological structure, which completed with robotic fabrication. This research pavilion could be regarded as a successful example to show the computational design process could be a new direction for us to achieve sustainability future. By analyzing and transfer the biological system of the sand dollar to the morphology of the structure, this approach demonstrates the high lightweight structural potential, which allows the whole project to build with 6.5 mm thin plywood sheets only and largely improve the material efficiency.

CONCEPTUALISATION

From this project, we can glance a bit of the upcoming design future: with the aid of computation design, robotic fabrication and rapid prototyping in the architectural industry1 will no longer be something special. Furthermore, biological stimulation and digital materiality study will be another main alternative discovery area that they would not only expand our design capacity but also they would lead us to a more sustainable future. 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1â&#x20AC;&#x201C;162. Dunne, Anthony

CONCEPTUALISATION 9 Image Source: https://vimeo.com/48374170

Project Name: Emotive City Architect: Minimaforms Location: London

Emotive city is a conceptual project that discovered the possibility of a contemporary city. The framework of the city aims at exploring the mobility and selforganization. As unfixable is the main challenge we faced today2, this project brought up a speculative model that enables everyday emotive interactions of the public and the social scenarios within the city to influence the organization of how a city is structured. 3 The idea behind that the city is moveable is very similar to the idea of walking city, proposed by Archigram in the 1960s. Yet what’s more than that, this model proposes a possibility that our living environments would organize through a local relative collective intelligence so that the communities and society would be able to be constructed by everyday local iteration and behaviors. 3 Although this idea in today’s view may be less radical, but still it is a perspective challenging and provoke model. Indeed, this project makes us consider how to design our living environments that are shared between participants and still allow for complex interactions.4

CONCEPTUALISATION

As mentioned in Dunne’s book, a new wave of interest in thinking about alternatives to the current system of our society is required. This model focuses on the dissatisfaction due to the rapid change from the accelerated urbanization and tries to provide us an alternative designed vision. What could be taken from this project is not only the idea of emotive city, but more importantly, the pluralism of ideology and values2 it standing for. 2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

3.Minimaforms,

‘Emotive

City’2015)

<http://minimaforms.com/emotive-city/>

[Accessed 10 August 2016].

4. Theodore Spyropoulos, ‘Behavioural Complexity: Constructing Frameworks for Human-Machine Ecologies’, Architectural Design, 86 (2016), 36-43.

CONCEPTUALISATION 11 Image Source: http://www.uncubemagazine.com/blog/15572449

A.2. Design Computation The evolution of design processes

“Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms.” --- Wayne Brown

According to Kalay5, all buildings before Renaissance were directly constructed without any considered planning. Architecture design was actually not regarded and developed as a professional practice until the 1490s5. After all these years development, architectural design process could be generated as the following major steps: problem analysis, solution synthesis, evaluation and communication. “Analyzing problems, setting goals, devising actions that might accomplish them, evaluating the efficacy of these actions, and communicating with others involved in the process is what designers do.”5 Design is definitely not a one direction process. It requires the designer to keep trying various creative methods to solve the problem, constantly analyzing and evaluating the outcomes or feedbacks with consistently standards. Furthermore, during the evaluation process, different tradeoffs have to be made by the designer to balance the conflicted desired outcomes from those wicked problems. 5 Using these evaluated feedbacks to communicate with the previous decisions, changes or adjustments would be required to improve the design performance. Thus, communication process could help generate solution ideas and along with the unpredictable factors may have influences on the design outcome, the design problem-solving process is more like a puzzle making process rather than a Rubik cube problem-solving process, which is regarded as a top-down design process as the desired outcome could be forecast. The designer has to keep discovery and picking the right choices to make a successful combination outcome, which is exactly like the venerable tangram puzzle making process. 5 Therefore, Kalay considered design as a searching process. 5 It needs analysis and evaluation to filter those white solutions, which fail to meet the goals. Computer, as an excellent analysis machine, is much more superior in rational preforming. They will follow the instruction logic perfectly, without making any careless mistakes. Besides, they also good at performance evaluation in measurable factors occurred during the design process. However, they lack any creativity when there is no instruction. Thus, Kalay argued that we should found a symbiotic design system that combines the creativity of human beings and the superior analysis and evaluation ability of computers5 to generate the optimized outcome. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

16. Wayne Brown, Introduction to Algorithmic Thinking

CONCEPTUALISATION

Project Name: ICD/ITKE RESEARCH PAVILION 2010 Architect: ICD & ITKE Location: University of Stuttgart, Germany In this project, the computing affects the design process by analysis and show performance evaluation of the bending thin plywood strips how elastic it could achieve. The design generation was based on the data analysis of the bending behavioral feature. By computing, the materiality profiles could be fully analysis and experiment in many time. As a result, it redirects the design direction by telling the designer what form it could achieve. Normally, computation design would pay attention to complex façade or structural performance but not the material performance. Even when the designs pay attention to the materiality, usually they applied the top down design process that the role of material was thrown into passivity rather than being treated as a generation factor. This project, in the contrast, put the materiality in the first priority. First of all, the project team set up experiments to test out deflections of the elastically thin bent plywood strips in relation to various specification parameters. Then, the data of the changing physical performances were mapped and recorded by the computer. According to these data, the computation simulated the material behavior and generated the form and structural of the design by the algorithm. After testing out the intricate plywood strip system 6 and making an adjustment for the clipping positions of each strip, the final data of digital model was sent to the robotic fabrication system directly. Thanks to the robotic system, the transformation from digital model to the actual physical outcome were economical and efficient.

CONCEPTUALISATION

This research design not only succeeded in forming the skin of the design as well as the structure at the same time but also it tied the relationship between materiality and generation process inseparably. Such design strategic, generating the design by largely analysis and applying the material performative behavior, could be regarded as a tectonic innovation in terms of materiality. This project showed the ongoing trend of research-based experimental design that could utilize the characteristics of the material and its performative behavior and accordingly generate the form of the architectural design. Such design process is also the puzzle making process. 5 The accurate capacity of the material performative behavior was unpredictable until all the experiments were conducted and the result had been evaluated and analysis. Without the aid of computation, there is no way for this project to be an economical and possible design that to be generated. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

6. Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83.

CONCEPTUALISATION 15 Image Source: http://network.normallab.com/portfolio/pavillion-2010

Project Name: Vaulted Willow | Permanent Public Art Pavilion 2010 Architect: MARC FORNES & THEVERYMANY™ Location: Borden Park, Edmonton, Canada

This pavilion is a lightweight, self-supported shells, which it’s structural form-finding and descriptive geometry were developed by the custom computational protocols.

prototype testing and actual fabrication, which highly improved the efficiency of the design and manufacture process.

The design process of this studio follows a linear sequence: “all morphologies result from explicit protocols- or finite series of steps, unambiguous instructions, hierarchically organized into a linear sequence, and translated through the shortest possible notation into an operational algorithm.”7 The logic behind the design protocols is written as a text file firstly, then it was explicitly encoded to be interpreted by a computational syntax (Python) and was finally translated into a software environment(Rhino 3D).7 Working within such design strategies, there is a delicate boundary that evokes the architect to consider what part of the protocols should be controlled and what part of it should remain open to leaving room for surprise. Indeed, most parts of the protocol need to be precise so that the morphologies could be the least randomness and implementable. However, the fascinating part of the computation is that by changing parameters, designers would be able to explore the potential possibilities and even invent new morphologies.

Aside from the catenary network structure, the color of this pavilion is also a noticeable characteristic. Due to the highly subjective nature of colors, normally architects would be very careful about picking colors for their design, worrying the wrong choice would destroy the aesthetic and classiness of the design. However, this project shows us that using computation and procedural protocols of tessellation might be a new way of coloring.7 For instance, in this project, the skin of the design, lightweight monocoque shells, is an intricate assembly of similar but unique, digitally fabricated stripes that overlap through their extended tabs to double material thickness. 8 Thanks to the large amount of stripes and digital fabrication, each single stripe was able to assign a particular color and the sum of these strips allow the whole design to have parametrised smooth gradient coloration.7 Such coloration succeed in highlighting the unique geometry form and variation, offering the opportunity to view the design in different perspectives. Relating back to studio air, I think the computation coloration could be useful aesthetically and increasing variation to our garment project.

In this project, aiming at embedding the skin, structure and ornamentation into a single unified system, the studio invested in the non-linear architectural typology which is a 2D geometry of catenary curves “by exploiting a computationally derived dynamic spring network with behavioral attributes”.9 By using multiple parameters such as rest length, angle constraint, and strength, the springs have various types. The catenary network is inflated twice to achieve double curvature. Furthermore, structural analysis: dynamic analysis, maximum deflections and stress ration- utilization were done on digital model and according to the data analysis, the studio could find out the structural weakness of the design and fix it before

7. Mark Fornes, ‘The Art of the Prototypical’, Architectural Design, 86 (2016), 60-67.

Karissa

Rosenfield,

‘Marc

Fornes

Theverymany

Constructs

Self-Supported

“Vaulted Willow” with Ultra-Thin Aluminum Shells’, ArchDaily, (2015) <http://www. a r c h d a i l y. c o m / 5 9 6 0 3 3 / m a r c- f o r n e s - t h e v e r y m a n y - c o n s t r u c t s - s e l f - s u p p o r t e d vaulted-willow-with-ultra-thin-aluminum-shells> [Accessed 10 Aug 2016].

MARC

FORNES

THEVERYMANY™,

‘2013

Vaulted

Willow’2010)

<https://

theverymany.com/public-art/11-edmonton/> [Accessed 10 August 2016].

Image 16

CONCEPTUALISATION

Source:

https://www.google.com.au/search?as_st=y&tbm=isch&hl=en&as_

q = R ESE ARCH+PAV ILI O N+2011&as _ ep q = ICD +I T K E&as _ o q = &as _ e q = & cr= &as _ sitesearc CONCEPTUALISATION 17 h=&safe=images&tbs=isz:lt,islt:xga#imgrc=dHy52kNxrpQhQM%3A

A.3. Composition/Generation

“Natural design is more than imitating the appearance of the organic. It is learning from natural principles of design how to produce form in response to the conditions of the environmental context. This is an age in which digitally informed design can actually produce a second nature.” --- Rivka Oxman

Apart from being a domain in the analysis and evaluation process, computers have far beyond significant influence in nowadays architectural world. The “digital in architecture had become the de facto locus of architectural theoretical discourse”.10 Digital design, has already developed from the stage of computerization, which uses the computer as a visual communication tool only, to computation in the design process. Although computerization is still the domain mode. As mentioned in week 2’s lecture, different from computerization, just representing the already exist idea or images in the designer’s mind, computation is actually allowing the computer to help generate the unpredictable optimized outcome. This is exactly a puzzle making process mentioned in the last paragraph, but with the aid of computer rather than just human activity. Moreover, I think computation achieve the goal of a symbiotic design system that Kalay5 argued for and even more. Computation is a new logic thinking of design process. In general, it can help designers easily generate a complex geometric pattern, stimulating biological system and create crazy structural form and so on. More importantly, in terms of parametric design, it force designers to rethink the logic relationship between each single design components and the design as a whole10. One we would keep in mind is that Louis Sullivans famous proclamation “form follows function”5. Computation is leading us as architects to an area that is more interest in“ the differentiating potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality”10. Multiple disciplines collaboration, especially with structural engineering, materiality and biology science, would become necessary due to the research-base experimental design nature generated by the computation design process. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

CONCEPTUALISATION

Project Name: ICD/ITKE RESEARCH PAVILION 2014/5 Architect: ICD & ITKE Location: University of Stuttgart, Germany This pavilion was based on the study of underwater nest construction of the water spider. This species spends most of its life underwater and constructs a reinforced air bubble to survive. In order to build its nest, the spider would first build a horizontal sheet web. Then the air bubble would be placed under the sheet web. In a further step, reinforced fibres would be sequentially laying in a hierarchical arrangement within the air bubble.1 As a result, this natural structure would turn into a stable construction that could resist mechanical stresses. In order to transfer this biological process to an architectural design and construct application, the team had to formulate a fabrication process that places an industrial robot within an air supported membrane ETFE envelope. This membrane structure was air pressure supported at first and then gradually reinforced the inside with carbon fibres by the robot to achieve a self-supporting monologue structure outcome.12

This project is a great experimental research design that fully utilized the combination of the advanced computation simulation and generation, robotic fabrication and digital materiality research. It also demonstrates the endless potential possibility of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality.10 Nevertheless, scalability may be the main resistance restriction that prevents the innovation tectonic of this project being widely adopted in the architecture industry due to the scale of this fiber- reinforced structures totally depend on the size of the fabrication robot. Maybe in the future, flying fabrication robot will be invented to solve this kind of problems.

10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture

According to their study, the fibre-laying process would be the core of the design. In this case, computation was necessary for the design generation process. At the beginning of the design process, the spider’s fibrelaying behaviour was stimulated by computation.11 In the next stage, the main pneumatic shell geometry and the precise fiber-laying path were generated by computation from finding process. Then, the digital modelling data would be sent to the robotic fabrication system and finish manufactory in a short time.

CONCEPTUALISATION

(London; New York: Routledge), pp. 1–10

11. Moritz Doerstelmann, Jan Knippers, Valentin Koslowski, Achim Menges, Marshall Prado, Gundula Schieber, and Lauren Vasey, ‘Icd/Itke Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architectural Design, 85 (2015), 60-65.

12. ICD & ITKE, ‘Icd/Itke Research Pavilion 2014-15’, University of Stuttgart, (2015) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 10 August 2016].

Image

Source:

http://ap-architecturememories.tumblr.com/post/124399103040/ CONCEPTUALISATION 21

icditke-research-pavilion-institute-for

Project Name: GALAXY SOHO Architect: Zaha Hadid Architects Location: Beijing, China Inspired by the traditional Chinese courtyard architecture type, Galaxy SOHO is compositing by four continues, flowing volumes, which coalesce to form the internal open space within this large multiple use complex. The design process of this project has two main notable and evocable computation generation strategies. One of the computation strategies applied on the geometry form generation. Starting from taking the Chinese courtyard as inspiration style, ZHA (Zaha Hadid Architects and Associates) invest the initial main ‘driving’ geometry form in a Maya subdivision surface model. Then based on this initial geometry form, a series of overlaid models in CATIA, each of which was generated to achieve a higher level of geometric definition and constructability for fabrication and assembly than the previous one.13 Furthermore, in the parametric modelling process, the ZHA team directly wrote the descriptive definition of the initial developable surface into the parametric models that control the precise geometry shape of the building.13 TThis means adjustments were able to make by the team to respond various wicked problem5 that may occur and affect the design during the design process.

technical capacity, the team also started to explore the parametric design performance in terms of social functionality.14 The occurrence of a new kind of simulation techniques is actually the key foundation that instigated such conceptual development of parametric design. This computational crowd-simulation technique and agentbased models that will “reproduce and predict collective patterns of movement, occupation, and interaction as emerging from individual rule-based actions.”14 This new methodology is a significant improvement of simulation application as it unlocks a brand new simulation research area that human itself could be the simulated object. With this crowd simulation, the team would be able to model and analysis the multi group’s user’s movement patterns within the building. This offered them a unique opportunity that generating the spatial functionality and arrangement of the building with deep and reliable understanding. Schumacher14 argued that the generalised life-process modelling should become a new standard for best practice in architecture. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Another computation generation strategy focuses on the social-functional capacity of the building.

13. Cristiano Ceccato, ‘Material Articulation: Computing and Constructing Continuous Differentiation’, Architectural Design, 82 (2012), 96-103.

As computation design is gradually becoming the mainstream from now on, parametric design is also getting into the era that merely aiming at complex geometry pattern, new form finding and technological advancement is not enough. In the case of SOHO project, despite the

CONCEPTUALISATION

14. Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiology’, Architectural Design, 86 (2016), 108-13.

Image

Source: http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/ CONCEPTUALISATION 23 508ee04f28ba0d7fe4000003-galaxy-soho-zaha-hadid-architects-photo

A.4. Conclusion

A.5. Learning Outcome

In this conceptualisation part, the main topic of computation has been explored and discussed. Different Started with questioning about the future, A1 design futuring attempted to argue architects should be aware and take the responsibility to not only taking care of our living environments through design, but also regard themselves as future speculators for the society in respond to the insecurity future coming in short. Opening up their mind and exploring the potential possibility, architects ought to be the pioneers who have the ability to change and reshape people’s value, attitude and behaviour and redirect the society to a real sustainability future. Analysing the ICD/ITKE RESEARCH PAVILION 2011, this case study illustrates that computation design could be the key progression that helps designers achieve their sustainability goals as well as enlarge their design capacity. On the other hand, the emotive city project shows that pluralism in design—different ideology and values are required by this time.

Thanks to this conceptualisation part, my understanding of computation design had been deepened. At the beginning of the semester, I did not realize that there is a difference between computerisation and computation. I thought both of them are just digital design. At this stage, not only did I realize that computerisation is just using the computer as a digital representation tool for better communication while computation actually involves and contributes to the whole design process, especially in generation process. Indeed, at this stage, computation design has been progressed a lot through these decades. It no longer just stands for creating new patterns or geometry shapes that would surprise people. What’s more, computation now has been dogged in specialized multidiscipline collaborations that enable materiality, structure, biological system study and robotic fabrication all become exploring areas that facilitate and open up brand new opportunities that would extend our design boundaries16. What’s more exciting, the developments of compaction simulation allow complex situations not only technical material, structural performances, but also in terms of social functional performances and communication feedback could be able to model digitally and drastically help in architectural decision making.

In A2 design computation, the evolution of design processes and how computation design has become part of it have been discussed. Furthermore, the value of computation design is another main focus in this part. By looking at 2 computation design project, ICD/ITKE RESEARCH PAVILION 2010 and Vaulted Willow | Permanent Public Art Pavilion 2010, the influences of computation has brought to design process had been elaborated in more depth. Furthermore, critical valuation of computation design is also included in these two case studies. Last but not least, the use of computation generation in architectural design process is the main theme of A3 composition/generation. Various generation methods by biological, geometrical and crowd simulation are demonstrated through the case study of ICD/ITKE RESEARCH PAVILION 2014/5 and Galaxy SOHO, Beijing project.

Indeed, with the help of scripting computation tool, in our case grasshopper, much more complex and ambitious design could be achieved. If I have known how to use grasshopper’ contouring and orientation last semester for my DDF project, it could make me so much easier to make changes to my digital model and fabricate, instead of unrolling more than handers pieces by myself. For our garment project, we should take full advantages of computation’s superior patterning/form founding performance, but we should also be careful not to let computation take charge our design. Besides, considering and exploring materials and getting inspirations from natural may be a good way to start our design process. 16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

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A.6. Appendix - Algorithmic Sketchs

01.

02.

CONCEPTUALISATION

03.

CONCEPTUALISATION

04.

CONCEPTUALISATION

05.

06.

CONCEPTUALISATION

REFERENCE Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83. Cristiano Ceccato, ‘Material Articulation: Computing and Constructing Continuous Differentiation’, Architectural Design, 82 (2012), 96-103. 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. 1–162. Dunne, Anthony ICD & ITKE, ‘Icd/Itke Research Pavilion 2014-15’, University of Stuttgart, (2015) <http://icd.uni-stuttgart. de/?p=12965> [Accessed 10 August 2016]. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 MARC FORNES & THEVERYMANY™, ‘2013 | Vaulted Willow’2010) <https://theverymany.com/publicart/11-edmonton/> [Accessed 10 August 2016]. Mark Fornes, ‘The Art of the Prototypical’, Architectural Design, 86 (2016), 60-67. Minimaforms, 2016].

‘Emotive

City’2015)

<http://minimaforms.com/emotive-city/>

[Accessed

August

Moritz Doerstelmann, Jan Knippers, Valentin Koslowski, Achim Menges, Marshall Prado, Gundula Schieber, and Lauren Vasey, ‘Icd/Itke Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architectural Design, 85 (2015), 60-65. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiology’, Architectural Design, 86 (2016), 108-13. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Theodore Spyropoulos, ‘Behavioural Complexity: Ecologies’, Architectural Design, 86 (2016), 36-43.

Constructing

Frameworks

for

Human-Machine

Wayne Brown, Introduction to Algorithmic Thinking Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

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PART B. CRITERIA DESIGN

CONCEPTUALISATION

PART B. CRITERIA DESIGN B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique Development B.5. Prototypes Development B.6. Design Proposal B.7. Learning Outcome A.8. Appendix - Algorithmic Sketchs

CRITERIA DESIGN

Image Source: http://network.normallab.com/portfolio/pavillion-2010

ICD/ITKE Research Pavillion 2010

B.1. Research Field Strips and Folding Strips and Folding is one of the common design elements that applied in parametric design. Strips is usually used in not only definding a designs’ structure, but also it forming the skin at the same time. Besides, it is usually used in architectures to highlight the shape of the design. Strips as design components, it could be performed in various material systems: intersection, contouring, folding and so on. Furthermore, the material behaviour of the chosen strip material could have significant design impact during the generation process: according to the behaviour, such as flexibility and hardness, curvature bending degrees and circumnutating performance would result in various design outcomes. The ICD/ITKE 2010 pavilion is a good example here to highlight such material impact on design outcome: by testing the bending performance of the thin plywood sheet1, the design team end up taking advantage of this behaviour performance and generated the intersecting bending shape, forming as the skin and the structural component of the design at the same time. As a result, different shapes and structural performance could be achieved by material variations. Folding is another design stream that works well with strips and surfaces: it could be using in flexible and rigid material systems. As a result, both of smooth curvature organic bending outcome could be achieve, but also systematic repeatable geometry pattern shapes could also accomplish in folding systems. For example, MoMA’s office da is a rigid folding system that used standard sheet-metal practices and pushed the aesthetic and formal possibilitied of the material2. I chose this digital design systems is mainly obsessed wirh the aesthete of the coherent curve fluency and the elegance of the organic shape it utilize. Furthermore, I also think the outcome of it for the garment project could have a lot of potentials due to its well performance for free from organic shape design. Due to the site for the garment project would be human body, adjustable shape would work out for utilizing body figure. 1. Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83.

http://katherynethegreat.tumblr.com/post/6945721493/office-da-fabrications-installation-at-the

Office dA, MoMa, 1998

CRITERIA DESIGN

2. Lisa Lwamoto, (2009). DIgital Fabrications Architectural and Material Techniques ( New York: Princeton Architectural Press), pp. 64-65

CRITERIA DESIGN

B1. Research Field 1.0 Project Name: Curved Folding Pavilion Architect: EPFL (In Silico Building) Location: Centre Pompidou, Paris This pavilion provides an abnormal combination of folding and curvature. Normally, due to the current domain 2D digital fabrication, rigid curve surface would normally regard as not developable surface and not able to be fabricated. However, with the technology improvidence of robotic fabrication, this pavilion succeeded in bending the 1mm aluminum sheets on a precisely defined line3 to achieve a waves ripples effect. With a rough uneven edge for joining each pieces together, this pavilion was able to form a self support structure curvature patterning. Succeed in accomplishing organic shape with rigid material, this pavilion shows the folding system is not limited in performance origami folding which only allow straight lines to be able to fabricate. Nevertheless, the most important logic behind folding system is to study the transforming relationship from 2D line works to 3D special performance. Material performance again plays a important role in such design generation as the material nature would have influence on how the folding would performance. 3. In Silico Building, â&#x20AC;&#x2DC; Material mattersâ&#x20AC;&#x2122; 2009 < https://insilicobuilding.wordpress.com/> [Accessed 10 September2016].

CRITERIA DESIGN

CRITERIA DESIGN IMAGE SOURCE: HTTPS://INSILICOBUILDING.WORDPRESS.COM/

I MAGE S OURCE : HTTP://WWW. EVOLO. US /WP - CONTENT/UPLOADS /2012/09/A RCHIPELAGO -PAVILION -7. JPG

B1. Research Field 2.0 Project Name: The Archipelago Pavilion Architect: Chalmers Uni Tech Location: Copenhagen, Denmark This pavilion was composisted by 133 pieces of 2mm thick laser cut steel sheets 4. The sheets were folded and joint together with 1535 joints. To be able to be fabricated, the design was constructed by a combination of underlying structural geomety and a single curvature that form a double curved surface5. With the design idea of provideing shading area, the pavilion was used parametric design to stimulate loads, sun and shade, and material use. This pavillion highlights that strips would also be used to form dynamic geometry design. 4. eVolo, ‘Archipelage Parametrically Designed Pavilion’2012 < http://www.evolo.us/architecture/ archipelago-parametrically-designed-pavilion/> [Accessed 10 September2016]. 5. Benoit Croo, ‘ The Archipelage Pavilion’2012 < http://benoitcroo.weebly.com/archipelago-pavilion.html> [Accessed 10 September2016].

I MAGE S OURCE : HTTP://WWW. EVOLO. US /WP - CONTENT/UPLOADS /2012/09/A RCHIPELAGO -PAVILION -5. JPG 44

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B2. Case Study 1.0 Project Name: Biothing Pavilion 2007 Architect: Alisa Andrasek Location: Paris Based on electromagnetic fields(EMF)6, the Biothing Pavilion was generated by vector line works to ‘self develop’ the marine organism shape from biomimicry algorithmic. Embed the site information into digital data, the project team developed special site analysis method to fulfill the data need for accomplish the algorithmic system and first generate the plan of the design7. Then, with the use of mathematical expression sine function, the planar vector lines were elevated in profile and sections. In short, the key algorithmic logic behind this project is the use of electromagnetic fields, accomplishing with the mathematical expression, to stress the strips and folding system by using line works and illustrating in dynamic shape.

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Image Source:https://www.google.com.au/search?as_st=y&tbm=isch&hl=en&as_q=biothing+pavilion&as_epq=&as_

4. Biothing, ‘/////SERIOUSSI PAVILLION /PARIS//2007’2007 < http://www.biothing.org/?cat=5> [Accessed 10 September2016].

oq=&as_eq=&cr=&as_sitesearch=&safe=images&tbs=isz:m#imgrc=OO2oCDhtsXkY8M%3A

5. ARCH20, ‘Serioussi Pavilion Biothing’2007 <http://www.arch2o.com/seroussi-pavilion-biothing/> [Accessed 10 September2016].

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B2. Case Study 1.0 Species 1

-Changing Spin Force R/D; -Point Charge

Species 4

-Changing Initial Curve: Golden Ratio

Species 2

Species 5

Species 3

Species 6

-Adjusting Graph Mapper

-Cull Pattern

-Adjusting Graph Mapper -Double Input

-Vorornoi

Species 7

-Changing Initial Curve: Cos + Sine Equation

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B2. Case Study 1.0

Species 8

Species 11

Species 9

Species 12

Species 10

Species 13

-Changing Initial Curve: Curve x2

-Line

-Overlaping Curves x3

-Curves x3 + Points

-Curve + Line

-Points + Line + Curves

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B2. Case Study 1.0 Iteration Analysis Selection Criteria -Variation: Aim at achieving very different/ unexpected outcomes from the original Biothing geometry input. The more difference, the more successful. -Complexity: Looking at how different combinations of changing initial geometry inputs and data variates would have influence on Field Line component performance and result in complex outcome as a whole that have hierarchy densities and heights of lines and achieve rich in special layering.

-Potential/ Flexibility: This criteria focus on speculating the further development potential/ flexibility that by following the same species parametric logic to achieve the unique outcome. Besides, high degree of integration with other parametric logics would also be considered.

Iteration 01.

Iteration 02.

This iteration was a result of a combination script of cull pattern, voronoi and field line. Itâ&#x20AC;&#x2122;s a single dome arch line work, which look like a fire work. By using cull pattern, it enable the points to gather at the central area, which enable the outcome to achieve mainly two type of density line works and defined the space into two area. Furthermore, it has a huge potential to be further develop as cull pattern itself could generate numerous results of points location and thus would lead this combination script into various unquiet outcome. flexibility that by following the same species parametric logic to achieve the unique outcome. Besides, high degree of integration with other parametric logics would also be considered.

This iteration was a result of the experiment of using line instead of curve as the initial input to generate the field lines. It suprises me as the line work pattern came out really different from the original one. I like the way it sort of mapping the tensor vectors of cobination fo the feld lines. By following a fluent movement path, the overlap pattern gives it a complex outcome.

Iteration 03. I like this iteration the most as it has an ancient monad creatures look. It was created by 2 closed curves . At first, I though complex outcome may came from complex curve input, like 3 or 4 overlapping curves. However, this iteration proves that it is not necessary like that. Besides, when blowing up the line works by grapper mapper, it already looks like an intricate pavillion as the line works are in various heigh level.

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Iteration 04. By adding the N of Field Line to 499, I got this romantic line work shape which look like the Milky Way. Besides, this iteration has a heigh felxibility as it was generated from 3 overlapping curves, which means it is very easy to manipulate the outcome.

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B3. The Reverse Engineering Project Project Name: Loop 3 Architect: CO-de-iT and UniBologna

Image Source: http://www.arch2o.com/loop_3-co-de-it/

This project was form by two structure components: the membrane surface skin and the curvature intersecting strips to form the skeleton. The skeleton acts as the structure frame of the design, which enabled the membrance to seal on it to construct the surface. The most worth notable point of this project is the orientation of the skeleton. Forming by various scaled loops, each loop of the skeleton has various orientations towards different directions while at the same time it could still be intersecting and preformed as a contouring system. Generally, contouring system has specific requirement for intersecting in 90 degrees due to 2D digital fabrication techniques. As a result, most of the contouring designs are generated by parallel panels or strips. However, the loop 3 project break this limitation and succeed in using strips with various orientation for contouring through a sophisticated intersecting system. Whatâ&#x20AC;&#x2122;s more, the interrelate relationships between each part within the whole design expressed through the parametric computation design process is another notable figure of this design.

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Expose Isometric

B3. Reverse Engineering Process Stage 1 Initial Circle

Stage 2 Moving Vector

Stage 3 Scale

Stage 4 Move

Stage 5 Adjusting Curve Shapes

Elevations

Stage 5 Adjusting Curve Shapes (experiments)

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Stage 6 Adjusting Curve shapes

Stage 7 Loft

Stage 8 Intersecting Planes

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B4. Technique Development Species A

-Changing Initial Curve

Species B

-Changing data input of components Scale & Move

Species C

-Experiment various types of Graph Mapper to adjust curvitury shape

Species D

- Replacing other case studyâ&#x20AC;&#x2122;s scripts to achieve similar curve intersecting effect/ open up new opportunities 58

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B4. Technique Development Species A

-Changing Initial Curve

Species B

-Changing data input of components Scale & Move

Species C

-Experiment various types of Graph Mapper to adjust curvitury shape

Species A.1

-Changing Initial Geometry Input: from circle to polygon

Species A.2 -Changing Pi input

Species A.3

-Changing Expression Y input

Species C.1

-Using samr graph type: Sine Summation

-Using Graph Mapper instead of Number Slider to be able to change data input of components Scale & Move in consequence at once

Species C..2

-Using other graph types

Species B

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B4. Technique Development

Species D

- Replacing other case studyâ&#x20AC;&#x2122;s scripts to achieve similar curve intersecting effect/ open up new opportunities

D.1 Gridshell project D.2 Mario Bellini- The Sphere project D.3 Biothing Pavillion project D.4 Herzog de Meuron- de Young Museum project D.5 Spanish Pavillion + AA Drifwood Pavillion project D.6 OMA- Mc Cormick Tribune Campus Centre project

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B4. Technique Development 2.

1. Species A

A.1

A.2

S=3

D=1PI

D=3PI

D=4PI

A.3

Species A

N=9

N=21

N=61

N=64

Y=10

Species B

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B4. Technique Development 1.

Species C.1

Species C.2

Species D

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B4. Technique Development Species D

5. D3

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B5. Prototypes Development

Prototype 01 Details

Issues

Joint Details

This prototype aim at testing how the 2D spacing between thin strips would have influences on 3D inflation when the surface being folded. As the prototye shows, the larger the spacing is, the more inflation the strips would performance. Furthermore, when it close to the end, the strips tended to have more inflation and out of contorl. Fabrication Issues: As some areas of the spacing between strips are too close (around 1mm), the polypropylene got burned at first time. Besides, the small spacing also make the strips very easy to brake during the fabrication process. Joint Details: At first, I used 20mm card ring to connect the ends and hold the folding structual. However, as the ring was too obvious for aesthetic reason, I replaced it with a metal brad, which is much smaller and made the prototype more looks elegance.

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B5. Prototypes Development

Prototype 02

Testing

Prototype 02 aim at expermenting how the polypropylene closed loop would be bended. When the force was pushing toward the central, I found the loop was bended very similar to the inner stiprs of Loop 3, my B4 reverse engineering project. Based on the testing result, I use laser cut to cut out a series connected loops and twised. As a result, they interlock with each other and form this unique curve shape.

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Prototype 03

Prototype 03 aim at experimenting curveture self form finding structure. By cutting out different shapes and sizes polypropylene closed loop, I found they act differently when pulling to contrast directions. Furthermore, when I twist or bend the stripts to those self force against points and pin them to connceted, they would automatically pop up and form this random curveture 3D shapes. However, due to this system is too random and not well contorl, this idea was abandoned.

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http://infinitywashere.blogspot.com.au/2015/03/wooden-waves.html

B6. Design Proposal Presedent Project Project Name: The Archipelago Pavilion Architect: Chalmers Uni Tech Location: Copenhagen, Denmark According to the interim presentation feedback, my further design development will be based on prototype 01. In the follwing weeks, I will investage and make more prototype to test out how the curvetura inflation system works. At hte sametime, grasshopper scripts also need to be developed. Starting from ptototype 01, I am interested in making it as a 3D pop up garment that form by this curveture inflation system to achieve similar undulating effect as shown in the presedent project. Furthermore, I will investage how to expend it/ connected it to form a continuted surface. http://infinitywashere.blogspot.com.au/2015/03/wooden-waves.html

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B7. Learning Objectives and Outcomes Using parametric design, even using a same script, design outcomes could be very different. In this case, it is necessary to have a brief to guild the design direction and as a standard to make the criteria. During the B2 and B4 iterations making process, the subjet guide brief only asked for the quantity without much further particularity requirements. It is good for us to open up any possibilities. However, this also means we need to come up our own â&#x20AC;&#x2DC;subbriedâ&#x20AC;&#x2122; to guild us for various research/ experment directions that would match up with our own projects and could help us gain technical skill of grasshopper. After part B, I have more understanding of a designâ&#x20AC;&#x2122;s parametric relationship with the use of grasshopper. As we were asked for making 30 iterations in total for B2, it is important first understand how the script works. Then it is also necessary to claer the relationship of the components and how they would have influence each other and the oucome during the iterations making process. Then at this stage, I would be able to start manipulate the script and try to belnd with other case study/vedios scripts to achieve/experiment desired outcomes rather than just changing the number slider bar without any expectations. When it comes for B4, more logical thinking is required. Only trying to achieve the shape/appearance of the project in grasshopper is far more not enough. To be able to successfully reverse the project engerning, understand the parametric logic and relationships behind is the fundamental step. Only with full understanding , then it would be able to be broke bown into segments to further experiment the possibilities of the script. Then, follwing to this logic system, the process of generating a variety of design possibilities would be more smooth. During the semester, my digital modelling skills of grasshopper have improve a lot thanks to the weekly task of sketch book and journal. Especially the iterations making in part B, I have the chance to try out combining various project scripts for my own interested experiment. Thus, I was able to build up self direct learning skills and gain further understang and knowledge of grasshopper. Furthermore, my analytic diagrammng skill also improved as I need to show and communicate the outcomes of my digital modelling. WIth the use of illustrater and other computer design tools, I am able to trsanfer the key information of my idea/digital design to simple but clear diagrams. With the prototypes making process, I was able to understand the possibility and failuare of my digital modelling in real life. Based on the outcome of the prototypes, I have much more clear design direction for my final design garment project. Much more prototypes will be required forfurther development.

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B8. Appendix - Algorithmic Sketches

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Paneling Box Morph + Rotation

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REFERENCE

1. Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83. 2. Lisa Lwamoto, (2009). DIgital Fabrications Architectural and Material Techniques ( New York: Princeton Architectural Press), pp. 64-65 3. In Silico Building, ‘ Material matters’ 2009 < https://insilicobuilding.wordpress.com/> [Accessed 10 September2016]. 4. eVolo, ‘Archipelage Parametrically Designed Pavilion’2012 < http://www.evolo.us/architecture/ archipelago-parametrically-designed-pavilion/> [Accessed 10 September2016]. 5. Benoit Croo, ‘ The Archipelage Pavilion’2012 < http://benoitcroo.weebly.com/ archipelago-pavilion.html> [Accessed 10 September2016]. 4. Biothing, ‘/////SERIOUSSI PAVILLION /PARIS//2007’2007 < http://www.biothing.org/?cat=5> [Accessed 10 September2016]. 5. ARCH20, ‘Serioussi Pavilion Biothing’2007 <http://www.arch2o.com/ seroussi-pavilion-biothing/> [Accessed 10 September2016].

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PART C. DETAILED DESIGN C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Outcome C.5. Design Development Diagrams

104

PROJECT PROPOSAL

105

C.1 Design Concept: Opportunity from Part B Prototypes DESIGN INTEGRATION: 3 PROTOTYPE FROM PART B CRITERIA DESIGN - Design as a continuation of the current 3 parallel system, the prototypes of our three group members become the STRUCTURAL BASE(B), ROTATABLE INTERMEDIATE STRUCTURE(I) and OUTER SKIN SURFACE(O) respectively

S-System: Structural Base

K-System: Outer Skin Surface

Previous Prototype

Peiyi: Undulating strips intersecting with each other, can be rigid or flexible

Psyche: Structure that can open & close, up and down when applying a rotating downward motion

Momo: Cutting on surface, inflation pattern changes due to various cutting spacing and load applying

Quality

Flexiblity: Rigid v.s. Flexibly; Stay still v.s. Behave according to body movement

Change in shape + Mysterious structure: Unstable, lots of variations with little change on the structure, unexpected result

Self form generating system + Self supporting system + Variation on pattern

Flow along body curve; Rigid enough that the shape will not change when

Change in shape (open and close/up and down) when applying force

Show different pattern following the movement of C, behave differently on different location

Future Expectation

106

I-System: Rotatable Intermediate Structure

PROJECT PROPOSAL

107

C.2 Prototype 01: First Combinition of I & K Merge with Iand preform as the skin/surface; at the same time, testing out how different spacing/width of strips, and bracing would result in different pattern performances with Psycheâ&#x20AC;&#x2122;s cones

108

PROJECT PROPOSAL

109

Prototype 02: First Digital Combining of 3 Systems First time combining three systems together directly, dealing with connection, trying to let I move and K correspondingly when applying force.

S Development: Strip Formation Process

BASE GEOMETRY

STRAIGHT LINES WITH SPACING OF STRIP’S WIDTH READY TO INTERSECT WITH BASE GEOMETRY

I Development 1: Clips 3D Orientation and Unroll: Failed

110

PROJECT PROPOSAL

CURVES ON BASE GEOMETRY WITH STRIP WIDTH

UNDULATED CURVES

2 SETS OF CURVES UNDULATED IN OPPOSITE MANNER

I Development 2: Clips 2D Orientation

UNDULATING STRIPS

Clips Orientation on 3D Objects for generating intersecting lines with K’s surface

PROJECT PROPOSAL

111

Prototype 02: First Digital Combining of 3 Systems

DIgital Model Combinition Precess

S+I

S+I+K

Issue of Cotton String

S Fabrication Details

1. As the length between points of inflection is the key point to achieve the

CONTROL CURVATURE: POINT OF INFLECTION

112

PROJECT PROPOSAL

INTERSECTING SLOTS AND HOLES FOR CABLE TIE

desired curve shape of S, cotton string is expected to hold the inflection points to hlod the shape of the strips. However, the elastic property of cotton string made it fail. 2. Fabrication issue: Each length between inflection points are measured in Rhino first,. Then according to the lenght, knots are tied manually to mark out the location of the inflection points need to be holded. This is not only a very time cosnsuming process, but also it is hard to be precise by hand.

PROJECT PROPOSAL

113

Prototype 03.01: New Opportunities After Prototype 02, we came to realized that the 3 systems were still just tying up superficially. After exploring the possibility of 3 systems together, we discovered new opportunities and change systemâ&#x20AC;&#x2122;s form in order to merge three ideas into one.

I: based connection with S testing: able to adapt and preforme on curve shuface, but unexpected egg shape appera at the middle when force applied. Further study of I need to invest,

114

PROJECT PROPOSAL

S: Using straight strips with clips to hold the desired curve shape.

K: Using strips instead of whole surface to connected I to allow movement when applying rotating force.

PROJECT PROPOSAL

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Prototype 03.01: S New Form Finding Using clip strips to replace cotton string. When pushing I, S successfuly remains the shape as polypropylene is much more stable to keep the length between points of inflection. Inspired by the temporary surfaceâ&#x20AC;&#x2122;s shape, S changing from a relatively straight strip shape to a much more undualting shape for better accommodate Istructure.

Polypropylene Clip Strips Testing: Length of S surface remains unchang when applying force on I.

116

PROJECT PROPOSAL

S-base Form Generation Process: 00: Original strips from prototype 02 01: Extract the dege 02: Locate the point which determine the curvature 03: Split dege ar these points, further divide points and move each points in a gradually increasing/decreasing value 04: Generate arch from the lowest and hight point 05: Create new surface 06: Two neighbounding surface

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117

Prototype 03.02: K Strip Patterns Rotation Force Performance Based on the result from/Inspired by 00.01, generating new pattern form: strips that seem extending form I. Experiment of various strip patterns: the larger the pattern spacing is, the more shape changing of the strip would be.

118

PROJECT PROPOSAL

119

Prototype 03.02: Strips Connection Points Testing Functionality(F): Allow C rotate smoothly Pattern Variation(P): how different the strip pattern would behavior when rotating Aesthetic(A): the generated pattern should still look harmony with C

Rotate Direction Connection Strips Strips Direction

When rotating, the stips of 03 would form a continue curve which create a relatively clear but fluent pattern.

04.1 is an intersecting way of conection, but it still allow movement.

04.2 is the same connection way of 04.1, but change strips’ direction form toward insider to toward outside.

05 is quite hard to rotate and it pulls the surfaces upward as the strips are no long enough for this connection way.

06 is quite interesting as it looks like the strips are part of the surfaces and there’s no ‘connection’ between each surfaces.

01 could be regated the most simplest 02 would push C away from each other way of strip connection. We gave up and thus would influence the rotate this one as it’s overall performance was movement. too straight forward

120

PROJECT PROPOSAL

121

Prototype 03.03 Trying new form of pattern: create a surface that connect 3 loops from the central and expect it may offer movement force for I so that when rotate the surface from central, I would move as well, instead of rotating them individually. Testing in two form: continue surface and strips Overall, 03.03 Strip Form would be considered the most successful K pattern so far, as it allows Iâ&#x20AC;&#x2122;s movement and performs simple but delicate pattern change at the same time.

Outline Curves Etch Curves for laser cut

1. Continue Surface Form

Finding central point of 3 rings

2. Strip Form

122

PROJECT PROPOSAL

Drawing curves following the expected rotation forece direction.

Tweencurves

Changing part of the curves to etch due to the density

Final template

PROJECT PROPOSAL

123

Prototype 03.03: Performance Test

Continue Surface Form

When pulling down the central point and rotating, the surface did no perform as we expected that it could make I rotate at the same time. In fact, it just made I falling down to the central point.

As lack of spacing, the surface failed to allow I movement. However, the dense cutting curves allow the surface preformed imperceptible changes of curvature directions.

124

PROJECT PROPOSAL

Strip Form

When rotation force apply, this pattern changes.

Strip from surface successfully allow I movement as well as preformed pattern variations due to rotate force.

PROJECT PROPOSAL

125

MOVEMENT MECHANISM Description: 1) A system attached to S-Base to transfer body movement to other system and generate change on shape. 2) Force that can allow C-Structure rotate: A combination of a downward force and a horizontal force applied at the two opposite corners. 3) In this case, the system should have the ability to change the force direction

MOVEMENT MECHANISM Test & Issue: 1) Pulley: change force direction-but string can slip out 2) Tube around pulley to secure the string and prevent it from slipping out the turning point rotate according to the direction of force—locate too many in total 4) Fish lines connected to each components and join together— to control/equalize the length of each part of the string or in another way the distance of each force, therefore, can’t achieve the effect wished Further Development: Control by hand manually instead of by body movement.

PROJECT PROPOSAL

Prototype 04: I & S Merging Revolution In order to push the idea of merging 3 systems into 1 further , in Prototype 04 , I & S started form as one, instead of â&#x20AC;&#x2DC;connectâ&#x20AC;&#x2122; them together. In this Prototype, 6 strips of S surface are cut and add I strips at each sides. As a result, we achieve the effect that I are growing from S.

Prototype 04.1 Hand Cut Intersecting Line for Rough Testing Effect

126

PROJECT PROPOSAL

Prototype 04.2 Laser Cut refined model in Grasshopper based on 04.1

Model Testing

PROJECT PROPOSAL

127

Prototype 04: I & S Merging Revolution Clips Fabrication Process

00 Strips and fabrication details ready for next steps 01 Unroll 02 Measure the distance between points that determine the curvature 03 Generate lines based on the distance & Offset lines 04 Orient clips head and labelled 05 Replace holes for points by cut lines on the strips

128

PROJECT PROPOSAL

129

Prototype 04: I & S Merging Revolution FORMATION PROCESS

Unrolled Strips From S-Base

Locate Where C-Structure Is Going To Be Placed Split Strips

Combine Two Strips Together Trim Out Unnecessary Part: Final Template For Cutting

130

PROJECT PROPOSAL

131

Prototype 04: I & S Merging Revolution

Issue: Result From Unrolling

2) Cut lines too close to each other: some strips were found to be broken after laser cut 3) Discontinuity in process, which cause problem for further assembly: lost cut lines or be placed at wrong location, etc. 4) Cut line created as 1.2 times the clips width, which is not enough: 1.5 times will be better

PROTOTYPE 04

FABRICATION 1) Strips formed in both directions, some with front side(blue) at the outside, others with backside(grey)

Correct Version

132

PROJECT PROPOSAL

133

Prototype 05: K Pattern Exploration After 03.03, as rotating movement is not required any more( giving up the movement mechanism), requirements and new opportunity for momo’s system have changed: 1. Continuity pattern: start thinking of how to connect psyche’s cones as a whole instead of just focusing on 3. 2. Allow Psyche’s cone vertical movement. 3. 3D pop up form: after discussion, we thought that momo’s system may have the potential to create some 3D pop up crazy undulating form as Psyche’s cone could provide various desired size/high. 4. Keep it simple at the same time, as there’s already too much going on our garment. Avoid intersecting curve pattern, this could also make it easier to fabricate. How to achieve: various 3D curvature generating method had been trying on in GH.

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PROJECT PROPOSAL

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Prototype 05: K Pattern Exploration

Adv: Advantage Dis: DIsadvantage

Continuity Pattern(C): The pattern is able to connect psyche’s structure as a whole Fabrication(F): Considering the fabrication process: could be unroll; no intersecting curve; the pattern’s spacing need to be contorlable/ larger than 1mm Aesthetic(A): the generated pattern should still look harmony with C and bettern to keep it simple

5.01-5.03a Method: 3D Generation--> Unroll Result: Unable to fabricate.

5.03b-5.05a Method: Back to 2D/ Project Result: Independent assessment.

As shown in the previous methods, it’s not practical to unroll the curvature strips as a whole surface due to multiple curvature directions. Solve fabrication problem of 3D generation method: back to 2D; Project

5.01 Graph Mapper

5.02 Biothing Field

C F A

Adv: Easy to create crazy complicate 3D curvature shapes

Adv: 02 could generate a very natural folding form of pattern, which is good to show the folding direction of pattern would influenced by Psyche’s cone --> better merge.

Adv: Further developed from Prototype 03.03, could generate similar curvature connecting strips, by using Gh instead of Rhino manually. Further more, instead of creating the pattern on a 2D flat surface, this method allow us to control momo’s surface to desired 3D form.

Adv: 03.b is still able to generate similar curvature connecting strips and able to fabricate.

Adv: 04 could generate a pattern that map the locus of points falling down from a surface; No intersecting curves after project.

DIs: Unable to unroll the surface/ fabricate

Dis: Hard to control how the pattern would generate/ achieve desired direction of the curves.

5.03a Arch From 3 Points 3D

Dis: Fail to unroll the intersecting ring and strips together.

5.03b Arch From 3 Points 2D

Dis: Take time to: 1.adjust the curve to avoid curve intersecting; 2. achieve ascetic requirement; 3. can only make strips for 2 Psyche’s cones at once.

5.04 Anemone

Dis: The pattern lack of connection to I; Need a lot manually edition in Rhino as the curve’s spacing are very uneven and some of them are too close to each other( less than 1mm, not able to be laser cut).

Unroll

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PROJECT PROPOSAL

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Prototype 05: K Pattern Exploration

Adv: Advantage DIs: DIsadvantage

5.05a Method: Contour --> Project Result: The most practical method. 5.05a Contour 2D

C F A

5.05b Method: Contour --> Unroll Result: Not practical for fabrication.

New Idea Generation: Back to prototype & precedent Inspired by the precedent Wooden Wave, the more undulating the surface is , the more dense the pattern would be--> Visually show/illustrate the change of high of the surface--> Similar effect as topography--> New Idea: using 2D curves to show 3D effect visually, pushing the system’s capacity to close up the transformation gap between 2D to 3D. --> Contouring the patch surface generated by random size & location of I. Adv: 1. Could be able to generate a continuity pattern for lots of Psyche’s cone and more efficient; 2. No intersecting curves and the spacing between curves are controllable; 3. Create visual illusion based on I.

5.05b Contour 3D

C F A

While we were developing 5.1 Contour 2D, we found that each single strips could be unrolled. Thus, we thought it worth trying if we can make this method work from 3D to 2D, so that fully rebuild the 3D digital model in reality. Mainly focusing on solving: how to connect Psyche’s structure with each intersecting strips & fabrication issues. Experiment 1: [Close the gap between strips and I] Feedback & Issue: the strips can not be unrolled with the circle together. Thus, we decided just unroll the strips and put clips to both end of each strips: use clips to connect with Psyche’s circle instead of unroll them together.

Dis/Further development: 1. Need lots of testing to achieve desired flowing pattern; 2. Need addition bracing to ensure no strips falling down due to no support underneath.

Experiment 2: [Fabrication] –Unroll & Orient clips Feedback & Issue: As many strips are cut by angles, this GH script doesn’t work very well: need manually rotate a lot of them in Rhino. As in the future, the amount of strips will be much more for the whole garment. Thus, this method would not be practical. Furthermore, Use clips to connect each strips and psyche’s structure would require much more time to install and probably not look good. Thus, we abandoned this idea.

1. Move & Scale I

2. Patch Surface

1. Strips go through I Experiment 1: [Close the gap between strips and Psyche’s structure]

3. Contour

2. Trim out strips: Gaps appear Experiment 2: [Fabrication] –Unroll & Orient clips

4. Project 3. Rebuild the strips to connect the ring Bracing 138

PROJECT PROPOSAL

139

Prototype 05: K Pattern Exploration 5.05a Contour 2D FURTHER EDIT FOR FABRICATION

Group Curves

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PROJECT PROPOSAL

Select Spacing Area Less Than 2mm

Reduce Curves Density/ Change to Etch Layer for Laser Cut

Laser Cut And Assemble

PROJECT PROPOSAL

141

PROTOTYPE 06 OBJECTIVE: understand what factors affect on the behavior of C-structure

ANGLE

DESCRIPTION: 1) Angle: Different angle at the joints where strip and strip are connected to each other has also been tried. The larger the angle the harder the structure can be pressed.

SCALE 2) Scale: Structures with 5 different scales are produced, and all behave in the same manner. And the results from 2D scaling(scale the unrolled strips) and 3D scaling(scale the digital model) are also the same

3) Top restrain: K-Surface is another important determinant for the behaviour of C-connection as it can restrain the movement. Through experimentation, it is found that the smaller the restrain, the harder the structure can be pressed.

178

PROJECT PROPOSAL

TOP RESTRAIN

PROJECT PROPOSAL

179

C.3. FINAL PROPOSAL

142

PROJECT PROPOSAL

143

Final Proposal: S Based Shape Generation Process S Generation Method Improvement - Create strips around body mesh instead of a tube like surface as the aim is to let the base flow along body shape and generate desired long dress shape for final proposal - Reason for long dress proposal: as the quality of S system is able to achieve any desired curve shape, long dress could fully reveal the beauty of Sâ&#x20AC;&#x2122;s curve surface generating from undualting intersecting shtrip, as it fit the body shpe very well

BASE MESH

144

PROJECT PROPOSAL

CREATE CONTINUOUS CURVES FLOWING ALONG BODY MESH

UNDULATE THE CURVATURE

GENERATE STRIP SURFACES

PROJECT PROPOSAL

145

Final Proposal: I Pattern Finding Process I Pattern Finding Logic: From site and concept

Benefit of I Pattern Finding Method

- Instead of putting Iâ&#x20AC;&#x2122;s structure on the based shape randomly, we input the data of the places that have benefits to natural environments along Merri Creek, map these places as points and allocated them on the garment base

- Tie the design proposal back to the site and merge design concept into our garment - Changing Pattens: I pattern would change when rotating the unrolled cylinder surface to change the relative location of projected points, which could be contorlled by slider bar in Grasshopper. As I pattern iterations could be easily make by changing rotation angle, this method provides lot of options to choose I pattern.

1. Unroll cylinder the

2. Project input point

3. Evaluate projected points to cylinder and push them to 146

PROJECT PROPOSAL

4. Orient patterns with direction perpendicular to

5. Cull the overlaid and unsatisfied patterns

6. Scale pattern with rate corresponding to original data PROJECT PROPOSAL

147

Final Proposal: K Pattern Generation Process K Pattern Development - Get the relative location of Psyche’s structure from 3D model to 2D surface - Rough sketch design as the final shape of the garment and I’ location are decided: intend to let the pattern flow along - Keep changing the height & shape of the patched surface and contour line direction to manipulate the flowing curve pattern to close up the sketch proposal - Accomdate S’s based shape and aim to highlight/ creat visual illusion for I’s structures: Curve directions and density are influenced by I

K Pattern Generation Process

Circle represent I’s location on the

148

PROJECT PROPOSAL

Project I’s location from the garment to the brep surface

Get I’s location on the unrolled surface

Scale and get each I’s height

Patch surface

PROJECT PROPOSAL

149

Final Proposal: K Pattern Generation Process Manipulating the Patch Surface for Contour

150

PROJECT PROPOSAL

151

Final Proposal: K Pattern Generation Process The flowing contour pattern iterations

152

PROJECT PROPOSAL

153

Final Proposal: Fabrication Editing - S

Digital Model: Top Strips

Digital Model: Top Strips And Clips

Unroll Top Strips

01. Strips Unroll Front & Back Issue Solving Problems: Make sure all strips generated have their front facing the out side by showing front and back in different color. Rhino screen shoots with view showing front and back in different colours: all surfaces have the same side facing the outside.

154

PROJECT PROPOSAL

02. Create Fabrication Details Unrolled strips from the top piece Make 2D Fabrication details unrolled to their strips: keeping the data branch in the same order for strips and their details

03: Clips Systems a. Unroll Clips Body From The Digital Model b. Extract The Longer Edge And Orient&Rotate Clips Head c. Scale Clips Head According To The Width At The End Of Strips

PROJECT PROPOSAL

155

Final Proposal: Fabrication Editing - S & I

32 23

01. Locate The Intersecting Lines, Unroll To Their Strips And Mark With C-Structureâ&#x20AC;&#x2122;s Number

02. Split The Strips At The Cut Line And Pull Apart Different Components

03. Union With The Corresponding C-Structure 156

PROJECT PROPOSAL

157

Final Proposal: Fabrication Editing - K K Pattern Finalizing Process - Finalise Pro 05 Contour method: Bracing: adding bracing on the strips that were too long and no I underneath Issues: - Iâ&#x20AC;&#x2122;s location appear differently in reality and digital model. This problem is mainly cause by the method: using project points to get the relative location from 3D model to plane surface. - Patternâ&#x20AC;&#x2122;s performance is hard to evaluate due to dislocation - Poor quality of laser cut

Final pattern

158

PROJECT PROPOSAL

Adding I

Adding bracing; Divide pattern to accommodate laser cut size

Upper part

Bottom part

Final Pattern Expose Isometric

PROJECT PROPOSAL

159

Final Proposal: Fabrication Editing - K K Pattern Finalizing Process: Fix 1. & 2. Fix 1: - Measure relative location of Psyche’s structure in reality and change the location on the pattern in Rhino - Reduce the dense of some area of the pattern, which curves are too close to each other, to make sure laser cut quality - Divided the whole continuity pattern into two part: top and dress, enable the pattern more adjust the structure shape Feedback: Some areas’ strips still too long and they pop up differently, making the garment looks messy and reduce the elegance Some part still need further bracing The shape of the pattern need further adjustment Original Upper Part

Fix 1 Process

Fix 1 Laser Cut Template

Change the intersecting rings’s location according to actural model dimention

Not Fit In Due to The Dislocation 160

PROJECT PROPOSAL

Fix 2 Process

Change the intersecting rings’s location again to optimize the intersecting rings’s location

Fix 1

Fix 2 Laser Cut Template

Modify the pattern to better accommodate base surface

Fix 2 PROJECT PROPOSAL

161

Final Model

Base

162

PROJECT PROPOSAL

Pattern

PROJECT PROPOSAL

163

164

PROJECT PROPOSAL

165

166

PROJECT PROPOSAL

167

C.4. Learning Outcome In this part, we try very hard to close the gap between digital model and fabrication in real life. However, after quite a few time hard trying, we came to realize that we should not expect computer could do all the work. In fact, solving this kind of digital fabrication issues creatively is one of the key quality in part C. For example, as responding for K system, I tried very hard to transform 3D pattern in digital model to real life( be able to fabricate). However, I did realize that it is not practical to directly unroll from 3D multiple direction curve pattern. As a result, I change the design method, using project instead of unroll to help me achieve desired outcome.

168

PROJECT PROPOSAL

169

C.5. Design Development Diagrams

170

PROJECT PROPOSAL

171

PROTOTYPE 01

GENERATE NEW OFFSET CURVE PATTERN CREATE AN INNER CURVE AND AN OUTER CURVE

DIVIDE CURVES INTO POINTS

CREATE 3 DIFFERENT CIRCLES WITHIN A BIGGER CIRCLE

CONNECT BY LINES

OFFSET LINES

OFFSET EACH CURVE BY A SERIES OF VALUE

TRIM OUT INTERSECTING PARTS IN RHINO

TRIM OUT INTERSECTING OR UNNECESSARY PARTS IN RHINO

IN ORDER TO CREATE STRIPS WITH GRADUALLY CHANGING WIDTH

IMITATE OVERALL SHAPE OF C-STRUCTURE IMITATE OVERALL SHAPE GENERATE THREE DODECAGONS SHARING SAME SIDES WITH DIFFERENT RADIUS

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

ALIGN DODECAGONS IN Z DIRECTION

CREATE 3D JOINTS WITH C-STRUCTURE

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON PHYSICAL TESTING FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT TOP AND BOTTOM EDGES FROM

EXTRACT ONE SIDE EDGE FROM EACH

ADD JOINT COMPONENT ON TO EACH EDGE

LOCATE POINTS IDEAL FOR CONNECTION

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING

PHYSICAL EXPERIMENTATION TO IMITATE AN OUTWARDS FORCES IN ROTATING PROCESS RECORD DATA

CREATE VECTORS WITH AMPLITUDES BASED ON PREVIOUS DATA(64)

SET 1: FORM CENTRE SET 2: -Z

MIDDLE DODECAGON

TOP DODECAGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES. FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

MIDDLE POINTS 1

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE MERGED VECTORS.

GENERATE VERTICAL ARCHES FOR BOTTOM PT1, MIDDLE PT2, TOP PT2

BOTTOM POINTS 2

MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE VECTORS(SET 1). MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE MERGED VECTORS.

JOIN EACH STRIPS WITH ITS JOINTS

STRIP UNROLL: SUCCESSFUL, READY FOR FABRICATION

INTERSECTING BETWEEN CLIPS AND THE NEIGHBORING STIRPS CUT BY HAND FOR TESTING

UNROLL JOINTS: FAILED DUE TO THE LOCATION CHANGE OF JOINTS

ADD JOINTS ON RHINO AFTER UNROLL

UNROLL C-STRUCTURE

BOTTOM POINTS 1 BOTTOM DODECAGON

IMITATE ROTATING

FIND THE INTERSECTION WITH THE A CIRCULAR SURFACE

MIDDLE POINTS 2 TOP POINTS 1

GENERATE VERTICAL ARCHES FOR BOTTOM PT2, MIDDLE PT1, TOP PT1

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EVEN THOUGH THE TOP POINTS ARE MOVED AND ROTATED ACCORDING TO THE ACTUAL MEASURES, ONLY THE NEW SURFACES CAN BE CREATED IN PARAMETRIC ENVIRONMENT INSTEAD OF BENDING THE EXISTING SURFACES. THUS, THE IMITATED

TOP POINTS 2

IMITATE ROTATING PROCESS OF C-STRUCTURE

PROJECT PROPOSAL

PROTOTYPE 02 BASE GEOMETRY MEASURE THE BODY DIMENSION

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE

CONVERT DIMENSION INTO A SET OF ELLIPSES CREATE A SURFACE BASED ON THESE ELLIPSES

IN ORDER TO FORM THE 2 SETS OF NEIGHBORING AND INTERSECTING STRIPS

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

FIND THE CENTER OF EACH ELLIPSES

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FORM UNDULATING STRIPS CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

NOW THERE SHOULD BE TWO SETS OF INTERSECTING CURVES BASED ON THE PREVIOUS DIVISION OF POINTS

FABRICATION: CREATE HOLE AT THE POINT WHERE CURVATURE CHANGES ON STRIP FIND THE LONGER EDGES OF EACH STRIPS

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

CREATE CIRCLE AT THE MIDPOINT OF EACH LINE

FABRICATION & ASSEMBLING CREATE CURVATURE: COTTON STRING LINK BETWEEN POINT OF INFLECTION

FIND THE INTERSECTION BETWEEN STRIPS SELECT TWO NEIGHBORING STRIPS

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

FAIL: COTTON STRING IS ELASTIC, DIFFICULT TO TIE STRING ACCURATELY AT A CERTAIN DISTANCE

UNROLL, LASER CUT & ASSEMBLE INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

FABRICATION: CREATE SLOT FOR INTERSECTION WITH HOLES TO PASS THROUGH

PLACE C SYSTEM ON S SYSTEM

LOCATE THE INTERSECTION

COMBINE S AND C SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135. The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

UNROLL STRIPS

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

RANDOMLY CUT THE INTERSECTION BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

FIND THE INTERSECTION WITH THE OTHER TWO SYSTEMS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

2D MANIPULATION FOR PSYCHE’ S STRUCTURE JOINT CONNECTION

PROJECT PROPOSAL

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

CREATE A SURFACE BASED ON THESE ELLIPSES

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

P2: MOVE THE RESULTATNT POINTS LOWER THAN THE LOWEST POINTS

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

PROTOTYPE 03.01

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

FABRICATION: CREATE CLIPS

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CURVATURE CHANGES ON STRIP

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE CURVATURE AT EACH POINT

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

LOCATE THE MIDPOINT FOR EACH LINE

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

CREATE CURVATURE: CLIPS SYSTEM

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER)

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

LOCATE THE INTERSECTION

FABRICATION: CREATE SLOT FOR INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

UNROLL STRIPS

COMBINE S AND C SYSTEM

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE ROTATE THE SIDE JOINTS TO ENABLE ORIENT THE JOINT THE INTERSECTION COMPONENT TO BETWEEN 2 THOSE POINTS NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADJUST SIZE AND LOCATION OF EDGES

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

PLACE C SYSTEM ON S SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

UNROLL, LASER CUT & ASSEMBLE

GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

FIND THE INTERSECTION BETWEEN STRIPS

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

FABRICATION & ASSEMBLING

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

CREATE VARIATION ON WIDTH

SELECT TWO NEIGHBORING STRIPS

NUMBER EACH CLIPS

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

CREATE 3 POLYGONS

DIVIDE EACH INTO A LOOP OF POINTS

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

MOVE POINTS ALONG ADJUSTED VECTORS

GENERATE VERTICAL ARCHES FROM THE MOVED POINTS, ONE FROM EACH POLYGON

LASER CUT & ASSEMBLE

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

UNROLL SURFACE

DECONSTRUCT SURFACE INTO CURVE OUTLINE

ADD JOINT COMPONENT ON EACH EDGE CENTER

CREATE TESTING LINE PATTERN IN RHINO

CREATE STRIP’S PATTERN

TEST MOVEMENT AND EFFECT

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

ADD JOINTS

TO GET STRIPS WITH OLIVARY SHAPE 6

PROJECT PROPOSAL

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE BASE GEOMETRY CONVERT DIMENSION INTO A SET OF ELLIPSES

MEASURE THE BODY DIMENSION

CREATE A SURFACE BASED ON THESE ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

PROTOTYPE 03.02

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

FABRICATION: CREATE CLIPS

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CURVATURE CHANGES ON STRIP

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE CURVATURE AT EACH POINT

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

LOCATE THE MIDPOINT FOR EACH LINE

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

NUMBER EACH CLIPS

FABRICATION & ASSEMBLING CREATE CURVATURE: CLIPS SYSTEM

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

UNROLL, LASER CUT & ASSEMBLE

CREATE VARIATION ON WIDTH

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER)

GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

FIND THE INTERSECTION BETWEEN STRIPS SELECT TWO NEIGHBORING STRIPS

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

LOCATE THE INTERSECTION

FABRICATION: CREATE SLOT FOR INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

MEASURING IN PHYSICAL ENVIRONMENT

PLACE C SYSTEM ON S SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

UNROLL STRIPS

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

COMBINE S AND C SYSTEM

JOIN EACH STRIPS WITH ITS JOINTS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

LASER CUT & ASSEMBLE

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

GENERATE EXPENDING STRIPS PATTERN INTERSECT WITH A PLANAR SURFACE

TO GET STRIPS WITH OLIVARY SHAPE

CREATE 3 POLYGONS

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE EACH INTO A LOOP OF POINTS

MOVE POINTS ALONG ADJUSTED VECTORS

GENERATE VERTICAL ARCHES FROM THE MOVED POINTS, ONE FROM EACH POLYGON

INTERSECT WITH A PLANAR SURFACE

FIT A CIRCLE TO EACH SET OF INTERESTING CURVES

CREATE A RING LIKE STRUCTURE BY OFFSETTING CIRCLE

GENERATE LINES FROM CENTER TO A SET OF POINTS ON CIRCLE

ROTATE LINES TO GENERATE STRIPS

GENERATE SPACING BETWEEN STRIPS LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

UNROLL SURFACE

DECONSTRUCT SURFACE INTO CURVE OUTLINE

ADD JOINT COMPONENT ON EACH EDGE

CREATE TESTING LINE PATTERN IN RHINO

CREATE STRIP’S PATTERN

OFFSET TESTING LINES

DIVIDE LINES INTO POINTS

MOVE POINTS ALONG X-AXIS ACCORDING TO THEIR DISTANCE FROM THE MIDPOINT OF THE LINE

CREATE CURVE BASED ON THE MOVED POINTS

CHANGING STRIP’S PATTERN

LINK THE ENDS

GROUP NEW CURVES, JOINTS AND EXISTING CURVE FROM STRIP SURFACE

LASER CUT & ASSEMBLE

MOVE POINTS ALONG BOTH X-AXIS & Y-AXIS ACCORDING TO THEIR DISTANCE FROM THE MIDPOINT OF THE LINE FURTHER EDIT IN RHINO

PROJECT PROPOSAL

CHANGING STRIP’S OUTLINE SHAPE

PROJECT PROPOSAL

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

CREATE A SURFACE BASED ON THESE ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

P2: MOVE THE RESULTANTS POINTS LOWER THAN THE LOWEST POINTS

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

PROTOTYPE 03.03

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

FABRICATION: CREATE CLIPS

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CURVATURE CHANGES ON STRIP

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

LOCATE THE MIDPOINT FOR EACH LINE

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

NUMBER EACH CLIPS

FABRICATION & ASSEMBLING CREATE CURVATURE: CLIPS SYSTEM

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

UNROLL, LASER CUT & ASSEMBLE

CREATE VARIATION ON WIDTH

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER)

GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

FIND THE INTERSECTION BETWEEN STRIPS SELECT TWO NEIGHBORING STRIPS

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

LOCATE THE INTERSECTION

COMBINE S AND C SYSTEM

FABRICATION: CREATE SLOT FOR INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

GENERATE 2 EDGES OF THE STRIP Optimising object shape

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

PLACE C SYSTEM ON S SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

UNROLL STRIPS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADJUST SIZE AND LOCATION OF EDGES

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

LASER CUT & ASSEMBLE

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

CREATE INTERSECTING RINGS INTERSECT WITH A PLANAR SURFACE

FIT A CIRCLE TO EACH SET OF INTERESTING CURVES

OFFSET A SMALLER CIRCLE FOR EACH CURVE TO CREATE A RING

TRIM OUT SPACING

PATTERN GENERATION PROCESS FIND ONE OVERALL CENTER OF ALL CIRCULAR CURVES DIVIDE CIRCULAR CURVES INTO SETS OF POINTS EXTRUDE CIRCLES

PROJECT PROPOSAL

LINK EACH POINTS WITH THE COMMON CENTER

CHANGE THE OVERALL SHAPE OF THE FIRST AND LAST CURVE IN EACH SET OF CONNECTING CURVES IN RHINO

REFERENCE BACK AND TWIN CURVES IN BETWEEN

TRIM OUT PARTS INSIDE THE EXTRUSION

FIRST AND LAST CURVE

ALL THE OTHER CURVES

CREATE A LIST WITHOUT THE ‘FIRST’ CURVE FOR EACH SET

CREATE A LIST WITHOUT THE ‘LAST’ CURVE

FURTHER EDIT FOR FABRICATION

DATA MATCHING AND LOFT SURFACE

DELETE ALL THE NEIGHBORING SURFACES

EXTRACT THE EDGE OF EACH SURFACE

GROUP CURVES

SELECT SPACING AREAS THAT ARE LESS THAN 2MM

REDUCE CURVES DENSITY/CHANGE TO ETCH LAYER FOR LASER CUT

PROJECT PROPOSAL

LASER CUT AND ASSEMBLE

PROTOTYPE 04

FORM UNDULATING STRIPS

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

CREATE A SURFACE BASED ON THESE ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FIND THE CENTER OF EACH ELLIPSES

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

ALTERNATING, UNDULATING INTERSECTING STRIPS

FABRICATION: CREATE HOLE AT THE POINT WHERE CURVATURE CHANGES ON STRIP FIND THE INTERSECTION BETWEEN STRIPS FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP UNROLL EACH STRIPS

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

GROUP ALL ELEMENTS FOR EACH STRIPS CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

PREPARING FOR FABRICATION

LOCATE THE MIDPOINT FOR EACH LINE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LOCATE THESE POINTS ON STRIP EDGES

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE CURVATURE AT EACH POINT

DIVIDE THE PLANAR CURVE INTO POINTS

SELECT TWO NEIGHBORING STRIPS

PROJECT CURVES ONTO A PLANE

FIND THE LONGER EDGES OF EACH STRIPS

FABRICATION: LOCATE THE POINT WHERE CURVATURE CHANGES ON STRIP MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

SPLIT THE STRIPS AT WHERE GOING TO CONNECT WITH C SYSTEM

CHANGE SPLIT STRIPS TO CURVES

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

CREATE CURVATURE: CLIPS SYSTEM

NUMBER EACH CLIPS

FABRICATION: CREATE CLIPS

EXTRACT THE MIDPOINT OF CUTTING EDGES OF EACH SPLIT STRIP CURVE(S) AND ORIENT SCALED CURVE(C)

JOIN TWO COMPONENTS TOGETHER

FABRICATION & ASSEMBLY TRIM THE EXTRA CURVES

COMBINE S AND C SYSTEM

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

FABRICATION CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE GENERATE 2 EDGES OF THE STRIP

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135. The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

PROJECT PROPOSAL

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

ADJUST SIZE AND LOCATION OF EDGES

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

UNROLL STRIPS

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

ADD JOINT COMPONENT ON TO EACH EDGE CENTER ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE ROTATE THE SIDE ORIENT THE JOINT JOINTS TO ENABLE COMPONENT TO THE INTERSECTION THOSE POINTS BETWEEN 2 NEIGHBORING STRIPS.

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

SCALE ON XY PLANES

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

JOIN EACH STRIPS WITH ITS JOINTS

SCALE ON XY PLANES

SCALE FIND THE INTERSECTION BETWEEN THE SCALED 3D MODEL AND THE A SURFACE

PROJECT PROPOSAL

PROTOTYPE 05 PROCESS

GH METHODS GRAPH MAPPER

INPUT INTERMEDIATE CONNECTION STRUCTURES 3D CURVATURE GENERATION:

DIVIDE 3 CIRCLES INTO POINTS

CREATE 3 CIRCLE AT THE SAME HEIGHT

‘BIOTHING’

GENERATE SPIN FORCE FIELD AT EACH CIRCLE

USE GRAPH MAPPER TO TEST DIFFERENT PATTERN

MERGE FIELD AND GENERATE FIELD LINE

CREATE POINT CHARGE ALONG THE CURVE

USE THE CURVATURE FROM BIOTHING

UNROLLING

LINK ALL POINTS ON CIRCLE TO THE CENTER

FIND A CENTER FOR THESE 3 CIRCLES

CREATE CIRCLES AT THE TOP OF EACH STRUCTURE

FABRICATION RESULTANT PATTERN TOO COMPLEX FOR FABRICATION

RESULTANT PATTERN TOO COMPLEX FOR UNROLLING AND FABRICATION

BLOW UP THE STRUCTURE TO 3D FORM

REASON + CRITERIA FOR PRO 05 DEVELOPMENT

HAND PRESSING INSTEAD OF THE MOVEMENT MECHANISM

AN INTEGRATED SURFACE INSTEAD OF A CONTINUATION OF MIDDLE CONNECTION STRUCTURE NEW OPPORTUNITY FOR SKIN SURFACE

ARCH FROM 3 POINTS 3D

CREATE 3 POLYGONS AT DIFFERENT HEIGHT

DIVIDE POLYGON EDGES INTO SERIES OF POINTS

GENERATE SURFACE BETWEEN THE NEIGHBORING ARCHES

CREATE ARCH FROM ONE POINT FROM EACH POLYGON

SELECT POINTS PREFER TO BE USED FOR PATTERN GENERATION

MERGE STRIPS SURFACE WITH SURFACE GENERATE FROM POLYGON

REMOVE THE ODD NUMBERED SURFACE TO CREATE SPACING

TESTING: STRIP & CURVATURE GENERATION CREATE 3 CIRCULAR CURVES AT THE SAME PLANE

ARCH FROM 3 POINTS 2D

SIMPLE BUT CREATE 3D POPUP UNDULATING FORM

DIVIDE CURVE INTO SERIES OF POINTS

CREATE ARCH FROM ONE POINT FROM EACH CIRCLE

SELECT POINTS PREFER TO BE USED FOR PATTERN GENERATION

GENERATE SURFACE BETWEEN THE NEIGHBORING ARCHES

REMOVE THE ODD NUMBERED SURFACE TO CREATE SPACING

TRIM OUT THE PART INTERSECT WITH RING SURFACE

UNROLL: FAILED

REMOVE ALL THE UNNECESSARY LINE AT THE CONNECTION BETWEEN RING SURFACE AND THE STRIPS

SPLIT THE OUTER EDGE OF THE RING SURFACE FOLLOWING THE INTERSECTION

CREATE A RING SURFACE BASED ON EACH CIRCLE FOR LATTER CONNECTION

2D STRIP GENERATION:

PROJECT TO PLANAR SURFACE

CREATE A SURFACE BASED ON SEVERAL CIRCLES AT DIFFERENT LEVELS WHICH REPRESENT THE INTERMEDIATE STRUCTURE

ANEMONE`

CONTOUR 2D

LOCATE SEVERAL INTERMEDIATE CONNECTION STRUCTURES RANDOMLY USING GRAPH MAPPER

SELECT FOR FINAL

USE ANEMONE PLUGIN TO FLOW CURVE ALONG THE SURFACE

PROJECT ALL RESULTANT CURVE TO A PLANAR SURFACE

FIND THE CENTER OF EACH STRUCTURE

CREATE A RAGGED SURFACE ON TOP OF THESE POINTS

CLOSE STRIPS AT THE END

CONTOUR 3D

LOCATE SEVERAL INTERMEDIATE CONNECTION STRUCTURES RANDOMLY USING GRAPH MAPPER LOFT TO GET A RINGLIKE SURFACE

CLOSE THE GAP BETWEEN STRIPS AND PSYCHE’S STRUCTURE REESTABLISH STRIPS AND JOIN WITH THE RING SURFACES

UNROLL AND LABEL ALL SURFACES

REBUILD CURVES

ORGANIZE UNROLLED SURFACE IN ORDER AND AVOID OVERLAPPING

FIND THE INTERSECTION BETWEEN STRUCTURES AND PATCHED SURFACE

REMOVE ALL LINES SHORTER THAN 2MM

PROJECT ALL THESE STRIPS TO A PLANAR SURFACE

CREATE DENSE LINES BETWEEN NEIGHBORING STRIP EDGES

GENERATE A CIRCULAR CURVE BASED ON THE SIZE AND LOCATION OF EACH SET OF INTERSECTING LINES

EXTRACT THE EDGE OF THESE STRIPS LASER CUT RESTRICTION

EXTRUDE THE CURVE AND MOVE TO PASS THROUGH THE SURFACE

REMOVE THE INTERSECTING AREA

CONTOUR THE SURFACE

DIVIDE CIRCLE INTO POINTS

MERGE THE REMAINING POINTS WITH POINTS FROM CIRCLE

INSTALL CLIPS STRUCTURE TO THE SHORTER EDGE OF STRIPS

INTERPOLATE CURVE PASSING THROUGH THE TWO ENDS OF THESE LINES

CREATE A RAGGED SURFACE ON TOP OF THESE POINTS

CREATE SMALLER CIRCLE SHARING THE SAME CENTER

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

CONTOUR THE SURFACE

FORM LONGER EDGES OF STRIPS WITH SPACING ALWAYS LARGER THAN 2MM

FIND THE CENTER OF EACH STRUCTURE

PATTERN TOO COMPLICATE UNABLE TO FABRICATE

REMOVE POINTS CLOSE TO THE CIRCLE

DIVIDE CURVES INTO POINTS

ALLOCATE TWO LONGER EDGES OF EACH STRIPS INTO TWO SEPARATE GROUPS ACCORDING TO WHICH SIDE THEY ARE

FIND THE CLOSEST STRIPS AROUND THE CURVE FROM THE TOP OF INTERMEDIATE STRUCTURE

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

NOT PRATICAL FOR FABRICATION BRACING MANNUALY IN RHINO ADD BRACING TO MAINTAIN THE IDEAL SHAPE IN REALITY

EDIT ON PLANAR SURFACE CANNOT WORK

PROJECT BACK TO RAGGED 3D SURFACE

PROJECT TWO SET OF CONTOURING SURFACE TO PLANAR SURFACE TWO SET OF CONTOUR SURFACE CANNOT INTERSECT

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

CONTOUR THE SURFACE FROM A DIFFERENT DIRECTION

BRACING METHODS

PROJECT PROPOSAL

PROTOTYPE 05 GENERATE THE OVERALL SHAPE OF C-STRICTURE GENERATE 2 EDGES OF THE STRIP

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

ROTATE THESE VECTORS BY 79.89 DEGREE

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

TESTING 01 SCALE JOINT ANGLE PHYSICAL TESTING: THE LOCATION AND ACUTE ANGLE(CUT LINE AND THE TOP AND BOTTOM EDGE) OF INTERSECTION BETWEEN STRIPS

PRODUCE SERIES OF PROTOTYPES WITH DIFFERENT DATA

CREATE A PLANAR SURFACE ON TOP OF THE STRUCTURE

OPTIMISED DATA: Angle = 74.08221; X=3.4: Y=9.5

MOVE THE PLANAR SURFACE TO ALLOW INTERSECTION

FIND THE INTERSECTING LINE AND SCALE TO 1.5 TIME AS CUT LINE

MOVE THE SURFACE IN Z DIRECTION TO GET 5 GROUPS OF INTERSECTING LINES

TESTING 03 TOP SURFACE RESTRAIN CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

UNROLL STRIPS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

SCALE ON XY PLANES

TESTING 02 SCALE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

JOIN EACH STRIPS WITH ITS JOINTS

SCALE ON XY PLANES

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

PROJECT PROPOSAL

JOIN THE MESH TO MAKE SURE IT IS A SINGLE MESH SURFACE FIND A BASE MESH WITH FEMALE BODY SHAPE

SPLIT THE MESH AND SAVE THE TOP PART ONLY CREATE A CIRCLE ON TOP OF THE MESH

MAKE SURE THE CIRCLE IS BIGGER THAN THE WIDEST PART OF THE MESH

DIVIDE THE CIRCLE INTO POINTS

BASE MESH FOR LATER PATTERN GENERATION

MODIFY ONE SET OF POINTS(S1): REMOVE THE EVERY 2nd AND 3 POINT

FOR POINTS AT THE FRONT AND THE BACK OF THE MESH

MODIFY THE OTHER SET OF POINTS(S2): REMOVE THE EVERY 1st AND 4th

FOR POINTS AT THE TWO SIDES OF THE MESH

PROJECT POINTS ONTO THE BASE MESH SURFACE

DUPLICATE POINTS ALL ALONG THE MESH FROM NECK TO WAIST

CREATE A CIRCLE ON TOP OF THE MESH

MAKE SURE THE CIRCLE IS BIGGER THAN THE WIDEST PART OF THE MESH

CREATE TWO LINES PARALLEL AND CLOSE TO THE TWO SHORTER EDGES RESPECTIVELY OF THE EACH STRIP

EXTRACT THE TWO LONGER EDGES OF EACH STRIPS

DIVIDE THE CIRCLE INTO POINTS

LOCATE THE POINT OF INFLECTION OF EACH EDGE

LOCATE THE MIDPOINT ON EACH LINE

LINK THESE POINTS IN PAIRS ON EACH STRIPS

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE CUT LINES NARROWER THAN THE WIDTH OF THE STRIP AT EACH MIDPOINT

INTERPOLATE CURVE THROUGH

FOR S1: MOVE THE ODD POINTS ALONG POSITIVE X DIRECTION, AND EVEN NUMBER TO THE NEGATIVE X DIRECTION

FIND A PLANE AT EACH POINT RELATIVE TO THE BASE MESH SURFACE

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

FOR S2: MOVE THE ODD POINTS ALONG NEGATIVE X DIRECTION, AND EVEN NUMBER TO THE POSITIVE X DIRECTION

SPLIT POINTS ON EACH CURVE BASED ON ODD AND EVEN NUMBER

ORIENT INDIVIDUAL SURFACES TO VERTICES OF A LABELLED GRID

CLIPS NOT NECESSARY FOR MAINTAINING THE CURVATURE...

TOO MANY CLIPS AND LOST SOME

05 CABLE TIE

GROUP THE CLIP’S HEAD WITH THE TWO SIDE EDGES OF THE CLIP’S BODY

SCALE THE CLIP’S HEAD TO MATCH THE WIDTH OF CLIP’S END

ASSEMBLE

LASER CUT CUT LINE FOR CLIPS, CLIPS STRIPS INTERSECTION

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

UNROLL STRIPS WITH CURVES

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE CUT LINES TO ORIGINAL STIRPS

ALL THE CUT LINES ON 3D MODEL READY FOR UNROLLING

ORIENT THE CLIP’S HEAD TO THE END OF EACH QUADRANGULAR SURFACE(CLIP’S BODY)

FIND THE INTERSECTION BETWEEN ORIGINAL STRIPS AND THE CLIPS BODY

PHYSICAL TESTING: RELATIONSHIP BETWEEN THE CLIP’S WIDTH AND CUT LINE LENGTH: 1.5 TIMES

FINAL 01

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

ON EACH STRIP, USE QUADRANGULAR SURFACE TO LINK BETWEEN TWO SUCCESSIVE CUT LINES

CREATE ANOTHER SET OF LINES AT THE MIDPOINTS 1.5 TIMES SHORTER THAN THE CUT LINES CREATED BEFORE

PROJECT POINTS ONTO THE BASE MESH SURFACE

DUPLICATE POINTS ALL ALONG THE MESH FROM WAIST TO GROUND

MODIFY THE OTHER SET OF POINTS(S2): REMOVE THE EVERY 1st AND 4th POINT

ADJUST DATA STRUCTURE TO LET ALL STRIPS HAVE THE SAME SIDE FACING THE OUTSIDE: BAKING AND SHOWING THE FRONT AND BACK USING DIFFERENT COLOURS IN RHINO

ADJUST DATA STRUCTURE TO COMBINE DIFFERENT SETS OF STRIPS INTO ONE LIST WITH THE RIGHT ORDER AROUND BODY

STRIPS READY TO BE UNROLLED

MODIFY ONE SET OF POINTS(S1): REMOVE THE EVERY 2nd AND 3 POINT

DIVIDE CURVES AGAIN

DUPLICATE POINTS ALONG THE MESH BUT LEAVE A GAP AT THE SLEEVE TO ALLOW ARM PASS THROUGH WHEN WEARING

JOIN THE MESH TO MAKE SURE IT IS A SINGLE MESH SURFACE CREATE A MESH SURFACE FOR THE DRESS BASED ON MEASURED BODY DIMENSION

INTERPOLATE CURVES VERTICALLY

LASER CUT CREATE 2 HOLES AT THE CENTER OF EACH LINE ONE ABOVE AND ONE BELOW

STRIP STRIP INTERSECTION

STRIPS WITH PATTERN STRUCTURE, INTERSECTING SLOTS, CUT LINES FOR CLIPS

REMOVE ALL LINE ON EVEN STRIPS

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

FIND THE INTERSECTION BETWEEN NEIGHBORING STRIPS

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

FIND THE INTERSECTION BETWEEN SCALED PATTERN STRUCTURE AND THE STRIPS

MAKE SURE EVERY INTERESTING LINE CUTS THROUGH THE STRIP HORIZONTALLY

INTERSECTION WITH PATTERN STRUCTURE

UNDULATING STRIPS

SPLIT THE UNROLLED STRIPS AND MOVE AWAY FROM EACH OTHER

MOVE AND ALIGN COMPONENTS OF CORRESPONDING PATTERN STRUCTURE TO THE STRUCTURE SPLIT EDGE

UNION TWO PARTS TOGETHER

A LIST OF SCALED PATTERN STRUCTURE CREATE A CYLINDER SURFACE AROUND THE BASE MESH UNROLL THE SURFACE TO XY PLANE RETRIEVE MERRI CREEK REGION FROM ‘OPEN STREET MAPS’

RETRIEVE THE TOPOGRAPHY OF MERRI CREEK FROM SRTM DATA BASE

GET THE LONGITUDE AND LATITUDE FOR THE MAP

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18. MEASURING IN PHYSICAL ENVIRONMENT

LOCATE ON XY PLANE AS POINTS

FIND ALL LOCATIONS AND SITES RELATED TO ENVIRONMENTAL ISSUES, E.G. FACTORY... USING ELK PLUGIN

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

GENERATE A SURFACE BASED ON THE TOPOGRAPHY USING ELK

REFERENCE ALL POINTS TO THEIR RIGHT HEIGHT IN REALITY

MOVE POINTS WITH THEIR SCALED HEIGHT TO SURFACE

ADJUST THE RELATIVE LOCATION SLIGHTLY

PHYSICAL TESTING: THE LOCATION AND ACUTE ANGLE(CUT LINE AND THE TOP AND BOTTOM EDGE) OF INTERSECTION BETWEEN STRIPS

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

ALIGN DODECAGONS IN Z DIRECTION

SCALE POINTS TO FIT ONTO THE UNROLLED SURFACE

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ADJUST SIZE AND LOCATION OF EDGES

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

EVALUATE THE POINTS TO THE CYLINDER AROUND BASE MESH

EXTRACT ONE SIDE EDGE FROM EACH STRIP

Get the relative location of I PROJECT POINTS ON EACH CIRCLE AND THE CENTER TO THE CYLINDER SURFACE

UNROLL THE SURFACE WITH ALL THE POINTS

ORIENT THE CONNECTING PIECE TO EACH CENTER CALCULATE THE DIAMETER OF EACH CIRCLE

LOCATE POINTS IDEAL FOR CONNECTION

PROJECT PROPOSAL

CREATE CONTOUR LINES ON SURFACE

CONNECTION WITH SURFACE SKIN: CREATE ONE CIRCLE INSIDE ALL INTERSECTING LINES AND ONE AT THE OUTSIDE

FIND THE INTERSECTING LINES

DELETE THE OVERLAID AND OVERSCALED STRUCTURES

MOVE THE SURFACE TO ALLOW INTERSECTION

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES CUT THE STRIPS INTO HALF

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

JOIN EACH STRIPS WITH ITS JOINTS

CREATE MULTIPLE SETS BASED ON THE SCALING FACTOR; LABEL ALL

CUT THE STRUCTURE INTO HALF

CREATE A PLANAR SURFACE ABOVE THE STRUCTURE

FIX 1 FIND A SCALE FACTOR THROUGH DIVISION WITH THE DIAMETER OF THE ORIGINAL STRUCTURE

ADJUST PATTERNS FORMED BY CONTOUR LINES

ADJUST THE CONTOUR LINE DIRECTION

ROTATE THE CYLINDER SURFACE TO ADJUST PATTERN

07 08

ORIENT THE JOINT COMPONENT TO THOSE POINTS

SCALE THE SIZE AND HEIGHT OF CONNECTING PIECE

DIFFERENT LOCATION OF THE PATTERNS IN REALITY COMPARED WITH THE DIGITAL MODEL MEASURE THE LOCATION ON PHYSICAL MODEL AND THEN CHANGE ON DIGITAL MODEL

PATCH SURFACE & CONTOUR PATCH A SURFACE ON TOP

SCALE THE STRUCTURE AND ORIENT TO CORRESPONDING FRAME

CREATE PERPENDICULAR FRAMES AT THE END OF THE CONNECTING LINE

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

GENERATE A CIRCLE ALONG THE OUTER EDGE OF EACH STRUCTURE

REDRAW THE CIRCLES OF I

SCALING FACTOR: REMAP THE LENGTH FROM 0 TO 1

PRODUCE SERIES OF PROTOTYPES OPTIMISED DATA: Angle = 74.08221; X=3.4: Y=9.5 WITH DIFFERENT DATA EXTRACT ONE LOCATE POINTS IDEAL ADD JOINT CREATE A CUT SIDE EDGE FOR CONNECTION COMPONENT TO TO INTERSECT FROM EACH UNROLL THESE POINTS BETWEEN STRIPS JOINTS AND ITS ADD JOINT EXTRACT TOP AND NEIGHBORING STRIP COMPONENT ON BOTTOM EDGES FROM TO EACH EDGE LOFT INSIDE EACH STRIP 2 SETS OF 2D MANIPULATION FOR JOINT CONNECTION AND FABRICATION ARCHES IN 02 PAIRS ROTATE THE JOINT TO EXTRACT TOP ALLOW IT FLOWING ADD JOINT COMPONENT AND BOTTOM ALONG THE SAME ON TO EACH EDGE EDGES FROM DIRECTION OF STRIP EACH STRIP SURFACE

THE LENGTH OF THE TOP EDGE(30.41), BOTTOM EDGE(24.20), AND THE SHORTEST WIDTH(7.24) PART OF UNROLLED SURFACES

LINK BETWEEN THE THESE POINTS AND THEIR CLOSEST POINTS ON THE MESH

PROJECT THE CONTOUR LINES TO A PLANAR SURFACE

HEIGHT AND SHAPE OF THE SURFACE

TRIM OUT LINES TOO CLOSE TO EACH OTHER BASED ON THE SHORTEST POSSIBLE DISTANCE BETWEEN TWO CUTS

FABRICATION EDITION

FABRICATION

DIFFICULT TO ASSEMBLE AND SOME STRIPS ON SURFACE SKIN HAVE SHAPES OUT OF CONTROL

FIX 2

ADJUSTMENT

SPLIT THE SURFACE INTO TWO PARTS(FOR TOP AND DRESS) TO ALLOW MORE CONTROL REDUCE THE DENSITY OF CONTOUR LINES AT SOME AREA OF THE SURFACE

PROJECT PROPOSAL