STUDIO AIR 2017, SEMESTER 1, CHRISTOPHER FERRIS LAURA RAWLINGS
C O N T E N T S 2
PART B. CRITERIA DESIGN - B.1 Research Field
6
- B.2 Case Study 1.0
10
- B.3 Case Study 2.0
20
- B.4 Technique Development
34
- B.5 Virtual Prototype
56
- B.6 Technique Proposal
60
- B.7 Learning Objectives and Outcomes
67
- B.8 Algorithmic Sketchbook
67
3
4
CRITERIA DESIGN
5
B.1
6
B.1 RESEARCH FIELD
Tessellation: a repeating pattern of shapes closely fitted together with no gaps or overlaps.1
T
essellation is a commonly used technique in computation design, with one of its biggest advantages being that it allows complex forms to be broken up into smaller less complex parts for fabrication. As well as this, tessellation means that a structure can be made from a single repeating element, hence making it easier to understand how something will perform structurally as well as reducing the
number of different joints required. Tessellation however is more often than not limited to surfaces and would be tricky to apply to three dimensional objects and spaces. The aesthetic outcome can sometimes be repetitive, cold and mathematical and hence the technique should be used in careful conjunction with interesting materials and movement.
1.“Definition of Tessellation�, Maths is Fun, accessed March 27, 2017, https://www.mathsisfun.com/definitions/tessellation. html
7
B.1 RESEARCH FIELD S
T
R
U
C
T
U
R
E
Vuossair Cloud by IwamotoScott Architecture was created using the reverse hanging method, invented by Antonio Gaudi, to form find the entirely compressive vaulted structure. In order to build the structure, the vaults were then divided into cells using Delaunay tessellation, where the cell density became greater towards the base and edges of the vaults for increased stability. The cells were then filled with four repeating elements with zero, one, two or three curved edges, depending on the number of adjacent void spaces. Each object varies in size and thickness relevant to its positioning in the vault.1 In this example tessellation allows a complex form to be broken into smaller repeating elements that are simultaneously modelled using grasshopper and rhino to fit the pre-specified structure. The objects are then simply unfolded, laser cut, refolded in physical form and cable tied together. This allows for the simple construction of a large complex shape using lightweight repeating elements, saving on time and materials. R
E
P
E
T
I
T
I
O
N
The Dragon Skin Pavilion was designed and built in just seven days, taking advantage of digital design and fabrication techniques to create a structure out of repeated post formed plywood elements. The regular elements are connected by gradually changing joint elements to create a curved volume that is indicative of a portion of dragon scales. 2 An obvious advantage of tessellation, as seen in this project, is that you can create something from the same repeating element. This would be particularly useful when you have lots of the same object or material to use up. A disadvantage however, it that the resulting form in this instance is one of cold mathematical precision, 3 perhaps losing any humanistic qualities.
8
2.“Vuossair Cloud,” IwamotoScott Architecture, accessed March 27, 2017, http://www.iwamotoscott.com/VOUSSOIR-CLOUD 3.“Dragon Skin Pavilion,” Design Playgrounds, accessed March 27, 2017, http://designplaygrounds.com/blog/dragon-skin-pavillion/ 4.“Dragon Skin Pavilion,” Arch2o, accessed March 27, 2017, http://www.arch2o.com/dragon-skin-pavilion-students-of-tampere-university-of-technology/
B.1 RESEARCH FIELD M
O
V
E
M
E
N
T
Fermid by Behnaz Babazadeh takes advantage of tessellation to create an object that explores natural movements found in living organisms. The underlying shape of the sculpture is curvy and fluid, which is them made physical by the separation of the surface into small repeating elements, fabricated from thin, flexible material and fixed using pin joints to allow for movement. The resulting structure can then be pushed and pulled to simulate breathing movements.4 Tessellation can hence allow for objects to be fabricated for movement. Opening up possibilities for forms that imitate human or animal movement, or perhaps adapt to changing environmental factors. However, the aesthetic outcome of this project and many others that use tessellation is sharp and fractured even when used to build shapes that are originally smooth and fluid. S
U
R
F
A
C
E
Hyposurface by dECOi is a display surface, expanding the possibilities of display to become movable and interactive. The surface is divided up into small triangles that allow for movement made possible by a bed of almost 900 pneumatic pistons that create dynamic terrains on the surface. The surface also has the ability to deform as a real-time reaction to environmental conditions such as light, movement and sound. 5 In this example tessellation is simply used to allow a flat surface to move and change into a contoured surface. The repeating element used in a tessellation pattern allows the surface to look continuous and uniform, however does not add much interest in this instance, despite the aesthetic capabilities seen in previous examples.
5.“Fermid by Behnaz Babazadeh,” Design playgrounds, accessed March 27, 2017, http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/ 6.“Aegis Hyposurface,”Mark Burry, accessed March 27, 2017, https://mcburry.net/aegis-hyposurface/
9
10
B.2
B.2 CASE STUDY 1.0
IwamotoScott Architecture // Vuossair Cloud Distillery
V
uossair Cloud is an exploration of an entirely compressive structure in combination with a lightweight material system. A program simulating the hanging chain method, first made popular by Antoni Gaudi, was used to give the catenary curves that were then used to define the entirely compressive vaulted structure. The paper-thin material is then used as a contradiction to the compressive structure. In order to make this possible, the vaults are divided into cells using Delaunay tessellation. The density of the cells becomes greater at the base and edges of the vaults, strengthening the system, while the upper vaults have more gaps, reducing weight.7
The cells are filled with one of four repeating elements with zero, one, two or three curved edges, depending on the number of adjacent void spaces. Each object varies in size and thickness relevant to its positioning in the vault. The repeating elements are modelled in grasshopper, unfolded, laser cut, re-folded in physical form and cable tied together. Using a grasshopper definition similar to the one used in this project, the next part will explore the possibilities of the definition, changing parameters, base geometry and components. Attempting to produce different and unexpected outcomes that can perhaps inspire further design.
7. “Vuossair Cloud,� IwamotoScott Architecture, accessed March 27, 2017, http://www.iwamotoscott.com/VOUSSOIR-CLOUD
11
B.2 CASE STUDY 1.0
SCALE / MOVE
01
02
03
04
12
05
B.2 CASE STUDY 1.0
06
07
08
09
10
13
CHANGE INITIAL POINTS / GEOMETRY B.2 CASE STUDY 1.0
14 11
12
13
14
B.2 CASE STUDY 1.0
15
16
17
18
15
B.2 CASE STUDY 1.0
MANIPULATE DEFINITION
19
20
21
22
16
23
B.2 CASE STUDY 1.0
24
26
SURFACE PANELING
25
27
28
17
B.2 CASE STUDY 1.0 SUCCESSFUL OUTCOMES
1
0
.
S
T
R
E
T
C
H
For this outcome, the curves defining the narrow end of the cones were moved further away from the top curves, creating a stretched mesh. Although a simple change, the form starts to look more architectural, like you could walk underneath or stand on top of it. It also looks as though it is taking inspiration from nature as it somewhat resembles a bunch of flowers. I imagine this form separated into its individual columns or ‘flowers’ and scattered through an area of trees, with each column around the same size as the trees, playing with ideas of scale and nature vs. artificial nature.
1
7
.
P
I
L
L
O
W
In this example, I played around with the base geometry, widening the boundary curve, moving points around and in some instances moving them outside the boundary curve. Because everything was widened, the overall form is flatter, with softer mesh curves. I imagine this form being climbed upon, with the form moulding and springing underfoot. Perhaps it is something that could wrap around the base of trees, creating a very different forest floor experience.
18
B.2 CASE STUDY 1.0 2
3
.
S
Q
U
I
S
H
The grasshopper definition used for these examples has components from the kangaroo extension which use physics to optimize structure. In this particular case, the components are taking the mesh as an input and running something similar to the reverse hanging chain method to find the end form, ultimately pulling up and curving the mesh. For this outcome, I changed the forces acting on the mesh so it would not only pull up, but sideways as well. The result is something that is less regular than many of the other outcomes, taking on an aesthetic of something squished or distorted.
2
6
.
D
I
S
C
For this outcome, I took the mesh that was outputted from kangaroo, triangulated it, exploded it, found the centre and plane of each exploded face and used them to place discs on to the mesh. I then varied the diameter of the discs using fields. I Like this example because it allows the mesh shape to remain visible, while having gaps in the system, creating something that you could look through.
19
B.3
20
B.3 CASE STUDY 2.0
SOFTlab // Behancestillery
T
his is a permanent instillation in the Behance offices in New York. As the offices are quite stark white, the aim of the project was to add some fun to the space and have something that would act as a three-dimensional stained glass window, casting colours around the space. The site for the instillation in the central stair case, so it is viewable from both levels of the office.8 Aside from being colourful, the aesthetic achieved in this project
is somewhat drippy or stretchy like chewing gum or putty. This shape is what I believe adds the most interest to the project. The stained-glass idea doesn’t appear to have been very successful in the final outcome, with no photographic evidence of any colours or shapes being projected into adjacent spaces. For this next part I will attempt to reverse engineer this project, focusing on the overall shape.
8. “Behance,” SOFTlab, accessed April 6, 2017, http://softlabnyc.com/portfolio/behance/
21
B.3 CASE STUDY 2.0
FIRST ATTEMPT: Start with the top and bottom curves.
Create voronoi cells within the top and bottom curves.
TECHNIQUE PRACTICE: I decided to reverse engineer another SOFTlab project that is a less complex version of the Behance project.
Begin with a low resolution mesh.
22
B.3 CASE STUDY 2.0
Using the center points for the voronoi, move points and use for circle centers.
Attempt to loft between voronoi cells and circles didn’t work. Dead end attempt.
Divide mesh faces, fix naked points as anchors, convert lines into springs.
Run the Kangaroo solver to create a tension mesh.
23
B.3 CASE STUDY 2.0
MESH A lot of the problems I occurred were due to original low resolution mesh used to create the tension structure. The process of building a mesh in grasshopper from a set of points is really long and tedious, so I opted to build it in rhino. This meant that once the mesh was built and referenced in grasshopper, it was difficult to make changes to the original mesh and hence the final outcome without starting the process all over again. The other problem I occurred was with meshes that weren’t comprised of an even grids of points, for some reason this effected which points were considered ‘naked points’ and hence affected where the structure was anchored from (see images to right).
Uneven mesh grid.
24
B.3 CASE STUDY 2.0
Uneven mesh division.
Anchor points effected by uneven mesh division, changing the edge shape of the mesh.
25
B.3 CASE STUDY 2.0
FIRST MESH: Mesh originally made from surfaces
Surfaces then converted to Meshes
SECOND MESH: the second mesh has more area at the top and bottom, which changes the final mesh shape.
Surfaces converted to low resolution mesh
26
B.3 CASE STUDY 2.0
Meshes joined and divided, naked points used as anchors, fixing corners but allowing other naked points to spline.
Lines converted to springs and kangaroo solver used to create the new mesh shape. This mesh needed to be move relaxed at the top and bottom to better resemble the Behance project.
Meshes joined and divided, naked points used as anchors, fixing corners but allowing other naked points to spline.
Lines converted to springs and kangaroo solver used to create the new mesh shape. This mesh is a better representation of the Behance project that the previous attempt. 27
B.3 CASE STUDY 2.0 FINAL PROCESS: As previously explained I found I couldn’t find an efficient way of creating meshes within grasshopper, so I made a series of points within rhino, used those points to create surfaces and then converted the surfaces to meshes. I then referenced the meshes into grasshopper and joined them into one mesh. This mesh was then divided, using a weaver bird plug in component that allowed corners to remain fixed and other naked edges to spline, reflecting the edges of the Behance project. The mesh lines were then converted to springs and the naked points were used as anchors for the springs. Instead of the lines or springs trying to reach a length of 0, and creating a completely tensile structure, the springs were trying to reach a length of 0.2. This meant that the long thin parts of the mesh were not reduced to a single line. Finally, the springs, anchors and divided mesh were plugged into the kangaroo solver, outputting the final mesh.
NAKED
SURFACE
MESH
DIVIDE
LIN
28
D POINTS
NES
B.3 CASE STUDY 2.0
ANCHORS
SOLVER
MESH
SPRINGS
29
B.3 CASE STUDY 2.0 FINAL MODEL
ISOMETRIC
BOTTOM VIEW 30
SIDE VIEW
31
B.3 CASE STUDY 2.0 OUTCOME:
D
ue to the nature of the way I was creating my model it was quite difficult to make quick changes to the final form of the mesh without going back to the start of the process. This meant that my final form had a few differences to SOFTlab’s Behance project. The three thin elements joining the blue section are perhaps longer in my model and lack a variety of thicknesses, whereas in the Behance project these elements are shorter and vary in thickness. The Behance project has circles as anchor points where
32
as in my model they are more like squares with filleted corners. I Think they would have become closer to circles in my model had I been able to up the degree by which the mesh was divided without crashing the definition, creating a higher resolution mesh. Although my definition was probably very different to SOFTlab’s I believe their process would still begin with a low resolution mesh, divided and relaxed somehow to its final form.
B.3 CASE STUDY 2.0 DEVELOPMENT:
I
really like the kangaroo plug in and the use of real-world forces to effect forms, as used in this definition. I would like to explore different forces that can be simulated in kangaroo such as compression, tension and gravity. I like the colourful, drippy
aesthetic of SOFTlab’s projects and will continue to look to their work for inspiration for my design development. Finally, I would like to go back to the idea of tessellation and find ways of incorporating this with the meshes I create.
33
B.4
34
35
B.4 TECHNIQUE DEVELOPMENT
CONFIGURATION
01
02
03
04
36
05
B.4 TECHNIQUE DEVELOPMENT
06
07
08
09
10
37
B.4 TECHNIQUE DEVELOPMENT
0
2
.
G
O
O
E
Y
The first change I made to the SOFTlab Behance model was to extend all the tube elements to the base. This made the mesh more continuous, with only the top and bottom acting as anchor points for the kangaroo simulation. The result has a sticky/ gooey aesthetic, resembling something like chewing gum being pulled from the ground by the sole of a shoe. Architecturally this mesh could be used a bridge or tunnel as it would be interesting to walk through and weave between the tube elements.
38
B.4 TECHNIQUE DEVELOPMENT
0
2
.
C
L
I
M
B
For this example, I altered the placement of the tube elements in the Behance project, making some project upwards as well as downwards. I think this would make for a cool hanging structure, perhaps between trees or even wrapping around trees. This example in particular reminds me of a climbing structure which is an element I want to bring into my final design. Climbing would change the perspective of the user to something that is closer perhaps to a bird’s perspective.
39
B.4 TECHNIQUE DEVELOPMENT
STRETCH AND DELETE
11
12
13
14
40
15
B.4 TECHNIQUE DEVELOPMENT
16
17
18
19
20
41
B.4 TECHNIQUE DEVELOPMENT
1
5
.
W
I
N
G
S
For this set of iterations I started with my practice tension mesh where I reverse engineered a simpler version of SOFTlab’s behance project. To begin making changes I put anchor points on the mesh and moved them when the kangaroo solver was running, stretching and changing the mesh. This example reminds me of outstretched wings and has a smooth aesthetic.
42
B.4 TECHNIQUE DEVELOPMENT
1
7
.
P
I
N
W
H
E
E
L
To make further changes to the mesh I begun deleting mesh quads. This made the once smooth edged object into a very jagged one. This example has a dynamic quality as it appears to be rotating around a central axis much like plane propellers or a pinwheel. I imagine this form would be most interesting as a loose hanging element allowing it to catch the wind and spin around.
43
B.4 TECHNIQUE DEVELOPMENT
MESH OPTIONS
21
22
23
24
44
25
B.4 TECHNIQUE DEVELOPMENT
26
27
28
29
30
45
B.4 TECHNIQUE DEVELOPMENT
2
1
.
P
A
P
E
R
To explore meshes and kangaroo forces further I decided to start with a flat square mesh and see what I could do to it. This first attempt, although simple is one of the most successful. I triangulated the mesh, converted all the mesh lines to springs and fixed their lengths, I then put anchor points on the mesh and moved them when the simulation was running. This created something that resembles paper folding or origami. Architecturally these would be rigid object, perhaps platforms or roof structures.
46
B.4 TECHNIQUE DEVELOPMENT
3
0
.
H
O
L
E
S
For this example, I once again started with a flat, square mesh. Firstly, I divided the mesh into smaller mesh faces and deleted some of the faces creating holes in the mesh. I then anchored the mesh with points along the edge and applied a force in the z direction creating a parachute shape. I like the idea of creating holes or breaks in meshes. This could be applied to more architectural meshes such as the first 10 iterations.
47
B.4 TECHNIQUE DEVELOPMENT
ANCHOR POINTS
31
32
33
34
48
35
B.4 TECHNIQUE DEVELOPMENT
36
37
38
39
40
49
B.4 TECHNIQUE DEVELOPMENT 3
1
.
A
N
C
H
O
R
For this set of iterations, instead of using naked points as anchor points, I set them to corners only. This resulted in the majority of the structure collapsing to a much smaller size than in previous examples. To take this further, I moved the anchor points while the kangaroo simulation was running, stretching the mesh. Architecturally, I think this could have an advantage, as a structure could be fixed from very few points.
50
B.4 TECHNIQUE DEVELOPMENT 3
9
.
S
P
R
I
N
G
This example was actually a mistake. I created a mesh that was intended to be pulled in to tension. However, when running the simulation, the anchor points I had set for whatever reason didn’t work and the whole structure begun to collapse into a single point. By baking the mesh while it was collapsing I got this iteration. Practically this would be extremely hard to control, but I like the aesthetic it has and how it collapsed in such an orderly way (as seen in iteration 40, the same mesh collapsed further). As it was a symmetrical mesh, it remained symmetrical until all that was left was a single point.
51
B.4 TECHNIQUE DEVELOPMENT
SYMMETRY / REPETITION
41
42
43
44
52
45
B.4 TECHNIQUE DEVELOPMENT
46
47
48
49
50
53
B.4 TECHNIQUE DEVELOPMENT
4
1
.
S
Y
M
M
E
T
R
Y
For this last set of iteration I started making meshes from tunnel elements that were joining at right angles in the x,y and z directions. When made into a tension mesh all the angles smooth out and the tunnels become more like joining strings between joint points. I like the symmetrical nature of this example and think it would make an interesting standalone object.
54
B.4 TECHNIQUE DEVELOPMENT
5
0
.
S
N
O
W
F
L
A
K
E
For this last example, I begun with a single square mesh and added more square meshes following a pattern that expanded the mesh in all directions. When ran in kangaroo, it created something that resembles a 3D snowflake. It reminds me of something achieved with the anemone plug in, which would perhaps be my next progression, using anemone to generate meshes.
55
B.5
56
B.5 VIRTUAL PROTOTYPE
F
or my video, I wanted to tell a story. The flythrough camera is intended to be perceived as the user experience of my design and scenario. My scenario is creating a link between my animal, the Southern Boobook Owl, and humans in the way in which they can both act as predators of the night. In my video, the user starts out wandering through the forest, then comes across my design.
They approach the design, and in doing so spot a figure across the river. However, as they look to the sky they see an owl circling in the sky as if it is watching, waiting to strike. Moving forward, they make their way through the design and towards the mysterious figure. Just as they are about to reach the person they look to the sky once more to see the owl swoop down and the scene fades to black.
57
56
58
57
59
B.6 60
61
B.6 TECHNIQUE PROPOSAL
S
C
E
N
A
R
I
O
In the dark, we are predators. We watch with perfect night vision as constellations of light explode between dancing figures below. From platforms high in the sky we lock in our target and prepare to swoop. At once or senses heighten, we hear the rise and fall of the beat, see the blur of colours come into focus, mouth-watering with anticipation. Then at last we stretch out our fingertips to grasp our prey, feeling the soft flesh mould under our touch. Finally, we tuck it safely under our wing and take to the wind, unafraid, triumphant. Blissfully unaware, the world above suddenly comes into view. Great luminescent beams reach to the night sky, overlapping at violent angles, distorting and meshing until all that can be perceived is glow. A piercing stare breaks though, eyes orange and wide, scanning for their next victim. We stop dead in out tracks, everything fades to black as the colour draws from the once vibrant night. Something lurks in the dark, making its way closer and closer until at last we feel the cool breath on our neck, a shiver ricocheting through our bones. Just as we are about to hand our self over to fate the first light of morning filters through the scene and at once we are safe again.
62
63
B.6 TECHNIQUE PROPOSAL
HUMAN AND ANIMAL INTERACTION The animal I’m focusing on the Southern Boobook Owl. With my design, I am trying to engage the users in the major themes and activities of the of the owl. These themes being that they are nocturnal, they are predators and they have exceptional night vision To do this I have incorporated ideas about luminescence, transparency, levels and perspective into my design. I envisage that people would visit the site at night for a party or even a sleep out, potentially interacting in a way that’s not to dissimilar to an owl and its prey.
64
B.6 TECHNIQUE PROPOSAL
DESIGN
INTENT
AND
RESPONSE
What I have created, is a mesh structure that will wrap around the existing vegetation and span across the Merri Creek. Simultaneously molding to the landscape and dramatically juxtaposing it. Although I have outlined the envisaged usage of the design, it has the potential to be very multipurpose. It acts as a bridge across the creek, a climbing frame and a shade cloth. The structure is multilevel giving users a range of different perspectives and it is designed such that it can be used in both the day and night.
65
B.6 TECHNIQUE PROPOSAL
TECHNIQUE
AND
MATERIAL
The technique that have primarily used is the transitioning of a rigid mesh to a mesh in tension. For materials, I imagine that it would be constructed of a luminescent rope or wire and colourful plastic panels, with gaps in the panels to facilitate climbing and the idea of transparency. Finally, my design is intended to be multipurpose and fun, with the form and materiality being inspired by the owl and ideas about nocturnality, night vision and predators.
66
B.7 LEARNING OBJECTIVES AND OUTCOMES
R E F L E C T I O N The way this subject and part B in particular is structured allowed me to rapidly develop my skills in grasshopper and unity. Now with an understanding of how some computer-generated forms are made, I am beginning to gain an appreciation for what is valuable digital architecture and what in not. However, the highly-structured nature of part B at times hindered my creative process. I think I was so focused on learning the tools and getting work on paper that I forgot to design! Designing for human and animal interactions at the site of Merri creek makes for an extremely rich and exciting brief. A large part on me would like to start this project over, conduct a site analysis from the beginning and really delve into the brief without the very structured requirements of part B looming over my head. I believe the process of choosing a research field, and two case studies without any consideration to the brief locked me into a design that was perhaps not very responsive to the brief. In saying this, part B was a great learning experience and I now have a design which hopefully I can begin to critically analyse and adjust to better respond to the brief. If I continue with this project I would ideally like to go back to the brief and design something, perhaps not even using grasshopper and then attempt to incorporate a grasshopper technique/ research field that I believed was most suitable.
67
B.8 ALGORITHMIC SKETCHBOOK WEEK 4. RECURSIVE DEFINITION
68
WEEK 5. CHROMODORIS
69