BDes 0.2.2 Digital Design Module 2 Journal 2020

Digital Design - Module 02 Semester 1, 2020 Jun Siavash Malek Studio Stream 2

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Critical Reading: Kolerevic B. 2003. Architecture in the Digital Age | Chapter 3: Digital Production a) What is the significance of Frank Gehry’s project in relation to Digital Fabrication? Use an example to explain your point. (no more than 100 words) Frank Gehry’s Fish Sculpture project in 1992 Barcelona Olympics was one of the first projects to be developed and realized in digital form. He treated digital technologies as a medium to translate physical models into data that direct fabrication machines to perform which is more efficient both in time-saving and financial aspect. His Nationale-Nederlanden Building in Prague applied digital driven cutting machine directed by the geometric information extracted from the digital model.

b) What is the three dominant forms of fabrication technique outline in Kolerevic’s text? Choose one of the technique and expand on how this could be useful in design? (no more than 200 words)

Subtractive, additive and formative fabrication were mentioned as three dominant forms of fabrication techniques

by Kolerevic.

Formative fabrication mainly applies mechanical forces, restricting forms, heating or steam to materials to shape it into desirable forms. CNC technology could be used here as CNC bending could be used to permanently deform materials. It could be useful to bend metal materials when doing installation art.

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Critical Reading: Essential Algorithms and Data Structure, Rajaa Issa, 2020 a) When designing an algorithm, what is the 4-steps process? (no more than 50 words) Identify the desired outcome; Identify the key process; Examine the initial data and parameter; Define intermediate steps to generate missing data.

b) Why is it necessary to organise your definition using clear labelling, groups and colour coding? (no more than 200 words)

Via organizing and labeling the solutions, it makes the script understandable, easier to be debugged and letting readers understand the script efficiently. Moreover, arranging them properly makes it easier to see the sequence of operations, consequently, makes it easier to understand what is wrong when there are problems in the script.

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Module 2 Reflection Questions: a) What is the key concept explored through your lasercut and 3d-print models?

The key concept I tried to explore in this module is to create the space with different functions and put them together in one architecture in order to make some space with flexibility. Sometimes the boundary between ideas could be blurred and so do people’s activities. Therefore, I would like to combine those needs together and create the elements that could satisfy those needs at one time. Taken privacy as an example, the demand of privacy varies under different condition and it changes in a flash due to the changing environment. Thus, flexibilities of those space could be taken into consideration and that is something that I would like to explore.

b) What is the quality of the space generated in your design fragment? Consider this as a fragment of space and the scale is not yet determined, i.e. it can be 1:5 scale or 1:50 scale In my design fragment, I tried to generate space serve different purpose together in one geometry and that is the general quality of space I created. The solution varies as part of them just separating spaces in two sides whilst some fragments managed to manipulate the visual continuity and mobility or the facing direction, as well as the relationship between light and shadow.

c) Consider this as a fragment of a pavilion design. Can you start to speculate on the threshold condition or possible means of circulating through your structure? Again, what sort of scale will your structure need to be?

I would like to consider the threshold as the conjunction where people start to connect the new space or meeting others. Therefore, when producing a public space, I would not simply use wall planes or other materials to produce an in-between space, instead I would try to use lights and shadow to create a transitional space. Proper scale needs to be selected by human activities as it is humans who occupy those space. When it comes to my design here, I would like to say it varies due to the space it creates and the technic chosen to build them.

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SUBTRACTIVE & ADDITIVE PROCESSES Solid Generation

Via sliding the number slider different kind of curve set could be generated.

Geo 1

The script for the first iteration mainly focus on the manipulation on curves and geometries in the script are parameterized in order to be controled by parameters.

A combination of two geometries is used to create the first iteration.

The second piece of the script practiced condition components and tried to generate the

Result is not satisfying

iteration via certain pattern.

Geo 2

This script tries to generate curves through mathematic method. By changing the expression, different rails could be generated.

Also point attraction scaling is used here to see the effects brought by this factor.

Maths expressions works here but not chosen

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SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix 1. Polygon Testing

This iteration emphasis on manipulation of the basic elements themselves. After testing several types of polygons, triangular polygon is chosen and taken into the next step of iteration.

1.1.1 Segment = 8

1.1.2 Segment = 4

1.1.3 Segment = 3

2. Polygon Scale NU Via Graphmapper

1.2.1 Manipulated Through

1.2.2 Cubes Edge = 28

1.2.3 Cubes Edge = 20

Graphmapper

1.1.4 Segment = 6

Control points of the polygons are extracted and manipulated by point attraction and scale components, consequently obtaining a wave like effect.

Later the curves are taken into rotation procedure and with a series sequence being used to define the rotation angles, a spinning effect is obtained.

3. Polygon Rotation Via Series Sequence Lofting those curves, a spinning geometry could be obtained and after scaling them in 2D, the first geometry is obtained.

1.3.1 Rotation

1.3.2 Rotation

1.3.3 Rotation

Via Series Number; N = 2

Via Series Number; N = 10

Via Series Number; N = 3

4. Final Geometry 1 Scale NU; X,Y = 0.639

1.4.5 Final Geometry 5

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SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix

The second geometry in this iteration is obtained by scaling and rotation in 3D. Different types of geometry were tested and the sphere was chosen.

1. Geometry Testing

2.1.1 Box

2.1.2 Sphere

2.1.3 Dodecahedron

2. Geometry Scale NU

2.2.1 Scale NU

2.2.2 Scale NU

2.2.3 Scale NU

X = 1.5

X =2.5

X = 2.7

Y = 3.6

Y =3.7

Y = 1.6

Z = 0.7

Z = 1.8

Z = 1.8

3. Geometry Scale NU 2.3.1 Scale NU Angle = 97

4. Result

Outcome 1.4.5 + 2.3.1

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SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix

1. Geometry Testing (Arrayed On Curve)

3.1.1 Pyrmaid

3.1.2 Box

3.1.3 Dipyrmaid

3.1.4 Dipyrmaid

3.1.5 Dipyrmaid

Side Number = 6

Side Number = 3

Side Number = 4

3.2.5 Dispatch

3.2.6 Dipyrmaid

In this iteration, I started with a curve set in rhino and divide them via perp frames in order to generate planes for geometries.

Then I chose to use a dipyramid as the basic geometry in this iteration and 23 of those dipyramids are arrayed onto the planes.

Based on Odds and Even

Based on Odds and Even

No Dispatch

Different Numbers for the Sides of Dipyrmaid

Different Numbers for the Sides of Dipyrmaid

2. Conditions

3.2.2 Dispatch

3. Elements Scale

I also tried to dispatch different kinds of geometries based on odds and even numbers in the sequence here. But it turns out they intercept with others and could not generate a proper geometry. Therefore, I used only one type of dipyramid here.

3.3.1 Scale

3.3.2 Scale

3.3.5 Scale

Amplitude = 10

Amplitude = 20

Amplitude = 18

Width = 10

Width = 34

Width = 19

Adjusting each pyramid is rather important in this iteration. By adjusting the top points of those, different shapes of the whole geometry could be formed. Scaling here also plays an important role. As different amplitude and width defines the size of the whole geometry.

Lastly is the twist. Twisting creates a dynamic effect for each element in the geometry.

4. BooleanIntersection 3.4.3 Outcome

SUBTRACTIVE & ADDITIVE PROCESSES Iteration Matrix 1. Rail Testing 4.1.1 Rail

4.1.2 Rail

X:2*x*sin(x)+2; Y: x*cos(x)

X: Tan(x)+2; Y:x*cos(x)

4.2.1 Section 1

4.2.2 Section 2

4.1.4 Rail

4.1.5 Rail

4.2.4 Section 4

4.2.5 Section 5

2. Section Testing

For the third geometry, my initial idea is to create a silk-like geometry. I started with the general form of the geometry and consequently I chose to use a rail to dominate the general shape of the geometry. Therefore, the first row in the matrix shows the procedure of the iteration of curve. Some of them are generated by math functions and later adjusted by adjusting their control points. Then I orient the section curves (shown on the second row in the matrix) onto the perpendicular planes on the rail.

With the help of parametric design technics, I can use a point attractor to adjust the shape of the outcome object. I got the centroids of each curves arrayed

3. Transformation (Point Attraction+Scale)

4.3.1 Transformation

4.3.2 Transformation

4.3.5 Transformation

4.BooleanDifference

4.4.3 Outcome

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on the perp frames of the rail and scale them by the distance between the centroids and the attractor points. To ensure the size of the object will not be too big I put another parameter to divide the distance. As a result, I got the same curves with different size to create a dynamic geometry as the outcome.

SUBTRACTIVE & ADDITIVE PROCESSES

Key Iterations

Different bounding technics are used here. Applying different bounding strategies and placing the bounding box could generate many different effects.

Different results were examined as well. The first iteration was generated by the BooleanDifference command which creates giant atrium inside the box whilst the BooleanIntersection was used to generate the third iteration as it calculates the intersection between the iteration and the bounding box.

Those designs examined both the additive strategy and the subtractive strategy respectively and the parametric design tools helps me to manipulate the three dimension objects with parameters and generate unique effects.

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SUBTRACTIVE & ADDITIVE PROCESSES 3D Printing

The layer thickness would be set to the minimum size which is 0.15 mm in height to capture the dynamic shape of the curves and surfaces.

As the geometry placed is not a standard box, therefore, to maintain its shape, it is necessary to use additional supporting materials. The orientation of models sometimes plays a significant role in the production stage. For example, from the first picture it could be found that it takes more than 10 hours to finish the printing and it will cost almost 100 g materials. However, after rotating the third geometry we could see that the time it takes to produce the Model reduced to 9 hours and 19 minutes and it cost only 91.68 grams materials. It makes the entire process more economic and increase the efficiency.

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SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing

Openings on this side of face provides additional lights for visitiors. More important is to create visiual continuity simultaneously create a private space on the spining inside.

The opening create an “in-between“ space which is inviting people to approaching the structure meanwhile not letting people to get inside.

Also provide a space for short inhabitation.

Isometric 2:1 0

10

30mm

The opening on the facade of the structure creates a long, narrow threshold which highlight the transtion of space. Indicating that the interior is a more private space. One direction of human circulation also indicates that.

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SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing

The opening on the top of the structure allows sun light to be projected into the interior space which provides light for visitors.

The curve spining down to the bottom diffuse the harsh contrast created by the light and shadow.

The interuption of visual continuity and the narrow threshold, as well as the heirachy inside the space, provides privacy for visitors.

Isometric 2:1 0

10

30mm

One threshold here creates a narrow opening which create the feeling that visitor is entering into a totally different space which is more private.

Privacy

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Isometric 2:1 0

10

30mm

The human circulation defines by the space which people will not pass through the architecture without purpose.

The wall panel installed created hierarchy system in this structure and ensure that the semi-public sitting space do not share visual continuity with the interior private space meanwhile provide a space for short time inhabitation.

Lower head plane is provided at the threshold which increase the level intimacy between visitors and allow communication to happen.

Privacy +

The semi U-shaped interior space inside defines the volume of space, allowing people to focus on the end of the U-Shape plane which frames view outside simultaneously provide privacy to people sitting outside with different hierarchy level. 14

SUBTRACTIVE & ADDITIVE PROCESSES Isometric Drawing

Privacy ++

Shadow here function as threshold as it creates a transition space between the architecture and the external space. It diffuses the strong contrast between open space and the large structure and ease the atmosphere.

Secondly it provides shade for visitors and the space, therefore, could be used for social exchange activities.

Lastly it offers privacy for people inside the space as the shadow covers their activities and movements.

Shelter space defined by the shadow ensures privacy. Human circulation also impacted by the shadow as pedestrians will not enter a non-public space unconsciously.

Sitting Space here are arranged into two directions and the upper part of the structure provides shade for visitors. They are separated with a backrest which moderately provide privacy for visitors.

Backrest panel here divide the bench structure and cut the vision continuity, increase the privacy level

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Isometric 2:1 0

10

30mm

SUBTRACTIVE & ADDITIVE PROCESSES 3D Print Photography

This model has the largest scale amongst those three models. With approximately ten meters in height, it creates a space with different hierachy levels. The curves inside the private space ease the heavy atmosphere and create the sense of secure. The openings on the other side create the space for short time inhabitation with a combination of shade and curved surface which welcome body contact.

This iteration emphasis on the manipulation of wall plane to create different hierarchy levels and manipulating visual continuities. Two space on the ground plane is to create space with different nature, one is more public, and one is private. Light could penetrate into not only the out public space but also the interior private space.

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The purpose of this geometry is to create some installation in a public space where people could choose to either gathering or take a rest on the bench. Although the whole structure moderately managed to create the intended effect. The shadow produced by the structure generate a special threshold for visitors, simultaneously create shelter and privacy space. Meanwhile the central part with light naturally attract visitors’ attention as a central special organization component which is a perfect space for giving a speech or play some musical instrument.

SECTION & WAFFLE STRUCTURES Study Area Development

Multiple reason could be found when choosing the second iteration as the basic geometry to experiment the XY-waffle technic. Moreover I chose to further develop the First are the special structure lines. This iteration obviously has shape structural lines which is interesting to see how those lines will be represented by waffling surfaces.

The second reason is the waffles would create rhythm effects inside the interior space which would produce a different spatial experience inside.

For further development of the previous design iteration and experimenting different digital technics, comparing the different effects brought by those technics, I choose the second and the third iteration for waffling experiment.

Space shown here is part of the iteration three which would have a great difference when applying waffling technic when constructing.

It is expected that this part would generate a rhythm effect onto the ground plane.

This part of the geometry is expected to have less variation when applying different technics when constructing the architecture as it is a rather plan surface for body contact.

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Generating cutters in order to make slots for waffles to be installed.

SECTION & WAFFLE STRUCTURES

(N.B.Consider the material when triming)

Sectioning Script

4. Getting Cutters

3. Cleaning Data

6.Arraying on Plan

Removing the small pieces helps 1. Generate Basic Geometry

constructing the structure

2. Contouring

5. Building Waffles

First to divide the geomerty with ten vertical contours and create boundary surface.

4. Cleaning Data

2. Obtaining Ends Rings 7.Arraying on Plan

5. Getting Cutters

This step determines the fidelity of the waffle

1. Generate Basic Geometry

6. Building Waffles

3. Contouring

For the XY-Waffle, I started with 5 cutting planes on each axis and found that it is at a low fidelity as it loses the details of the original geometry and that also happens on the radial waffle when I tried to use 15 radial lines to contour the object. Later I increased the amount of cutting plane for XY-waffle to 10 on each axis and 30 waffles for the radial waffle. But later when I tried to do the laser cutting on a 1.5mm thick wooden board I found that it is impossible for the machine to make a 1.5mm thick slot on such a small-scale model. Therefore, I had to change the material in order to do the laser cutting. (Photos attached on appendix). It is also necessary to consider the strength of material when doing the waffling as the 1mm boxboard becomes rather fragile when trying to assemble them. Therefore, for future practice I would pay more attention to the physical model making step before stepping into that procedure.

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SECTION & WAFFLE STRUCTURES Model Making

Notching is set to be around 1mm. Although laser cutting is a subtractive forming technic with high precision, it still leaves moderate difference in length when trying to install those parts. Consequently additional supporting material like glue is needed.

The most important thing before sending the model for laser cutting is to consider the thickness and the nature of material. As the cutter is set to be 1mm in length, what is needed to bear in mind is that in such situation, the most practical selection of material would be 1mm box board. Attempting to making larger slot here is not realistic as the size of model is too small and a wider slot, like a 1.5mm slot, sometimes would be wider that the edge itself.

Those small parts in the waffle is extremely hard to be assembled and it requires glue. Maybe it is wiser to remove those small parts. However, under current parameter settings, in order to keep the shape, it is necessary to maintain those part.

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To obtaining a 3D effect rather than simply putting surfaces togther, I generated a plane on each surface and extrude those surface on their planes’own Z-Axis in both direction to fit them inside the notch.

SECTION & WAFFLE STRUCTURES Laser Cutting

To minimize the complexity of machining process, I used special fonts to avoid unnecessary cutting which might cause over-burning. It is also important to check the duplicated edges before sending them to the machine as overlapping edges might cause multiple times of cutting which has the potential to cause accident.

R-WAFFLE2

x-WAFFLE1

x-WAFFLE2

x-WAFFLE3

R-WAFFLE3

R-WAFFLE4

R-WAFFLE5

R-WAFFLE10

R-WAFFLE12 R-WAFFLE8

R-WAFFLE13 x-WAFFLE6

x-WAFFLE7

R-WAFFLE9

R-WAFFLE14

x-WAFFLE8

R-WAFFLE11

R-WAFFLE16 R-WAFFLE17

R-WAFFLE15

R-WAFFLE7

x-WAFFLE5

R-WAFFLE6

x-WAFFLE4

R-WAFFLE18

R-WAFFLE19

R-WAFFLE20 R-WAFFLE23

600.00

x-WAFFLE11

x-WAFFLE10

the layers to be peeled off the board which damage the shape. Therefore, I let them machine to keep a small connection point between the pieces and the “motherboard” and that remain those pieces in place.

R-WAFFLE38

Y-WAFFLE1

Y-WAFFLE2

Y-WAFFLE5

R-WAFFLE32

R-WAFFLE35

R-WAFFLE36

R-WAFFLE40

R-WAFFLE39

R-WAFFLE29

R-WAFFLE33

R-WAFFLE37

R-WAFFLE41

R-WAFFLE42

Y-WAFFLE3

Y-WAFFLE10

Y-WAFFLE4

R-WAFFLE31

R-WAFFLE34

x-WAFFLE15

R-WAFFLE28

R-WAFFLE27

R-WAFFLE30

x-WAFFLE14

R-WAFFLE25

x-WAFFLE12 R-WAFFLE26

x-WAFFLE13

R-WAFFLE21

R-WAFFLE24

R-WAFFLE22

x-WAFFLE9

600

Secondly is to consider the material and processing technics. One nature of the selected box board is it is a multi-layer paper made board. To prevent the pieces dropping accidently, one solution could be using masking types to stick them to the board. But that might cause

E-WAFFLE2

E-WAFFLE1 R-WAFFLE1

Y-WAFFLE6

Y-WAFFLE7

Y-WAFFLE13

Y-WAFFLE15

Y-WAFFLE8

Student ID & Full Name 1067816 Jiuyu Zhu

Sheet 01 of 01

900 900.00

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SECTION & WAFFLE STRUCTURES Isometric Drawing

Delivering design through waffles, especially for a model like this with a radial waffle, requires consideration on the thickness of materials and the amount of waffles set in this model. Adding too many pieces might cause waffles intercepting with each other whilst removing some parts might let the waffle loses its shape.

Waffles creates rhythm spontaneously as it could be found in the picture above that the shadow on the ground

Unlike additive procedure like 3D printing, the waffle needs additional parts for supporting its stability. It creates a new plane for visitors to interact with.

Isometric 2:1 0

10

30mm

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has great difference with the 3D print version which changes the atmosphere that the design tries to communicate with the visitors. Thus, considering the delivery method should start in the very first stage of designing or prototyping.

SECTION & WAFFLE STRUCTURES Isometric Drawing

Lines and curves are simplified in this structure and it reduce the complexity of the model, leaving simple surfaces which encourages body engagement as natural materials like wood sometimes works better than human made materials like concrete when constructing waffles.

More lights could enter the interior private space which gives a different spatial experience compared with 3D printing model.

Isometric 2:1 0

10

30mm

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SECTION & WAFFLE STRUCTURES Lasercut Model Photography

Compare with the representation form in Task A, 3D printing, the waffle structure has a larger scale which function as a pavilion with two levels. The space located on the first level function as a more public space where allows public events to take place. The patterns on the ground forms a grid space where the similar shadow on the ground create grid like patterns for people to occupy. The waffle with different height level also creates a stair like structure which has the potential to let people climb up. That waving effect is achieved by the dense radial lines set in the script.

This waffle structure has a similar scale with the radial waffle. The crossing waffles create shape shadows on the ground plane which strengthen the feeling of entering a new space. That effect is 3D printing technic could not produce. It keeps the general shape of the model as it presents the same design concept as the 3D print version which is to create two space with different nature.

The reason for it having the same scale is because I would like to test how different constructing methods affect the presentation of design.

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Appendix Process

Simple test with box. Applied rotation.

I tried to use surface as basic geometires but its outcome was not satisfying.

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Appendix Process

Those are the handdraing diagramming when I interpreting those space defined by the geometries. I believe that direct manipulation of content is better than using a pointing device.

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Multiple approaches are taken to understand the space. First is to identify the elements that define the space.

Then understanding the spatial organization. Upon that, the usage of space could be read and we will know which function does this space has and understand the quality of space.

Appendix Process

Notching and materials should be considered from the very start. As the thickness of material determines the notching size. Tiny notches with fragile materials will require additional supporting glue to stick them together.

I have mentioned in the previous part that I attempted to complete the waffle model, but it was damaged during the delivery. To keep those parts stick with the motherboard meanwhile prevent the board from peeling off, I kept tiny connection on the cutting lines. It is better than using masking tape.

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Appendix Process

Some model photos. Variation of lights will create different shadow.

Found that the sometimes shadow could function as elements used to define the space.

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Appendix Process Part of inspiration of the first geometry comes from Zaha’s Leeza SOHO. The dynamic atrium creates unique rhythm inside the space.

Courtesy of Zaha Hadid – Renderings : MIR

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Appendix Process SHIGERU BAN ARCHITECTS New Headquarters for Swatch 2019 The roof is made up of wood from Switzerland. Shigeru Ban likes to find local materials for his architectural project.

It is made with subtractive fabrication technique.

Nicolas G. Hayek street https://www.thehourglass.com/news/new-swatch-hq-designed-by-shigeru-ban/

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FIN