STUDENT JOURNAL CARLIN LYON (637315) ABPL30048 STUDIO AIR 2015 SEMESTER 1 TUTORIAL 11 TUTOR: CAITLYN
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TABLE OF CONTENTS 01 03 04 06 10 13 19 19 21
Title Table of Contents Task 01 _ Introduction A1 _ Design Futuring A2 _ Design Computation A3 _ Composition/Generation A4 _ Conclusion A5 _ Learning Outcomes A6 _ Algorithmic Sketches
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B1 _ Research Field B2 _ Case Study 1.0 B3 _ Case Study 2.0
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TASK 01 _ INTRODUCTION
My name is Carlin Lyon. I am an architecture student at the University of Melbourne, in the final year of my undergraduate dress. As far as I can remember, I have always been deeply interested in design, but my passion stemmed from graphic design in particular. I enjoyed digital art, design and visual composition, however I pursued architecture because I felt it held many more opportunities and perspectives on design thinking. Digital tools such as Rhino and Revit are great ways to virtually represent a building, or even a more abstractedly designed form. Recently I have had a lot of fun exploring Vray rendering in Rhino, and am fascinated by the process of digital translation from life to programmable date; for example computing the parameters of the sun or understanding digital and real space. My first experience with digital fabrication and parametric design was in 2013 under Virtual Environments, where I was exposed to a new design approach with a far less linear process and outcome.
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IMAGE: Virtual Environments, Carlin Lyon WEEK 01 TASKS
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TASK A1 _ FUTURING
Iris Van Herpen, 2012 There is a strong sense of growth and movement in Van Herpen’s designs which are a result of an algorithmic process; they have a very successful outcome where it appears as if a dynamic form has been preserced in hard geometry. There is also a clear symmetry in a lot of her works which emphasises the applied mathematical thinking to the forms. A difficulty with parametric design, I suspect, is the ability to respond directly to the site/brief/body whilst using such a complex process. I believe Iris Van Herpen’s designs have a direct relationship with the model which only enhances the overall effect - a kind of shell or even armour.
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It also appears that she didn’t just use modeling software as a tool - the algorithmic nature is strongly integrated in the design as a whole. Her designs ARE algorithms. However they clear have a sense of consideration for composition which solely comes from her personal sense of design. The technology of her designs goes beyond anything imagined without the aid of computer software. Her designs take part in a new direction of fashion, as they take on sculptural form extended from the body, rather than just an idea of clothing and body, sleeve, pant leg etc. A lot of her designs were 3D printed which also adds to the sense of unity and holistic design - everything joins or relates to everything somehow1. The use of 3D printings was incredibly new to the runway and opens up a radically different opportunities for smaller design pieces. As with computational design, one of the bigger dangers is the lack of consideration for fabrication. As the lines of fashion and sculpture are
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becoming blurred, we can now start to think about unified forms with a high level of complexity, being printed together as a single strong, wearable piece. The juxtaposition of strong and wearable is interesting to me, as you can design something that looks like an extension (even if scaled) of the body, yet have it look rigid and stiff. Comme des Garcons also employed a similar sense of parametric design, which suggests that computation has instigated a new overall mentality of the limits of fashion.
1 http://www.additivefashion.com/iris-van-herpen-and-3d-printing-the-beginning/ 05
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Bloom, Biothing, 2012 TASK A1 _ FUTURING
Bloom is an installation of plastic cells which combine to make various parametric forms. As it only has three main connection points on each cell, there is a (not necessarily linear) connection and pattern between all the potential formations. It’s also interesting how the idea of growth and ‘building on oneself’ extends to the audience’s engagement with the installation, and not just in its parametric design. The work is considered a game, which has infinite outcomes. However, despite similarity and a clear relationship between all the forms created, the individuality of each maker is still strongly evident. An interesting idea raised in the Oxman reading was that with technology, firms often employ the approach of ‘research by design.’ This suggests that various iterations created through programs inform the next stage of iterations. As technology is undoubtedly becoming a key part of architecture practice, computer programming becomes a universal tool for design. However, as the reading mentioned, there is still an element of unique style within a practice, which demonstrates how they respond to, and choose to use this universal tool. Bloom captures this idea as it uses the same starting elements (like the tools in a program) but the choices of connections and overall form still carries the flavour of the individual and how they approached the ‘game.’ The installation was unique in its purpose, a recreational building block which did not have such linear connections. It was not a set of lego which only built up. It challenged the future mentality that we can build with non-symmetrical, nonlinear, non-straightforward things, yet still attain forms such as furniture. It also responded well to its site as its parametric undertone promised growth in its form aesthetically. No matter how the pieces were joined, it still appeared that it kept developing or was frozen in time; it was never ‘finished.’ There is some criticism in its superficial purpose - a bit of fun however I think that it was an important installation to change the mentality of parametric relationships and growth.
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TASK A2 _ COMPUTATION
Before thinking about how computers will help
tailor our mentality towards design to work with our
evolve design, I think it’s important to consider the
environment, and integrate programming into that
different ways computers relate to us as designers.
thinking and response to it. Whether there is action
The ‘Computation Works’ reading (Brady Peters)
immediately or not, I think it is clear that digital
mentions various relationships between designers
design will become part of the way we think.
and computers, for example designers do their ‘job’ then introduce an intensive team of highly skilled
It is difficult to fully predict where the future of
computer guys when they’re ready for that next
computation well end up; do we invest our time in
stage. In contrast there is a more integrated approach
learning everything, becoming fluent in all design
where designers use the tools intuitively, almost as
languages, or do we stick to just our professions?
an extension of their designing. I think that the latter
I think there’s an ambiguity in where architecture
is more effective, there is no loss in translation, it
extends to and that it’s worth testing those limits -
can enhance a design which has more opportunity
computation is the perfect means to start.
than the single designer’s mind; a more expansive and interesting future direction for computation.
Ultimately there is always the danger of the software
‘Design Futuring’ is even more radical in that they
being used solely as a tool with buttons to press,
suggest computation will become accepted as part
however hopefully the future of computational
of our mentality, not just our process. We need to
design will mean a great opportunity for complexity
assess the current ‘state of our world’ so that we can
in design.
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TASK A2 _ PRECEDENT 1
Voussoir Cloud, IwamotoScott Architecture, 2008
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Voussoir cloud is an example of algorithmic
kind of dependency between the elements is largely
tessellation, where the cells mildly vary depending on
reliant on computer based generation, therefore
their location and what is around them. It does not
digital computation would heavily influence the
immediately appear that there is a consistent pattern,
design and aesthetics. Without computer generation,
as each cell scale and distance apart is different as
this kind of design would not be possible, or at least
they join in a variety of points and faces. However,
without this level of complexity. The opportunities
there still is some overall physical connection between
with computational design will undoubtedly change
all of the forms - they all fit and seem to depend
design thinking in the future.
on each other to maintain the overall structure. The
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The structure itself, as intended by the architects1 tries
tabs for fabrication and joining, but the arced form
to achieve the act of compression while maintaining
(perpendicular to the petal surface) adds strength in
the aesthetic of a lightweight material. Every element
its tension. The level of curve along the petal edges is
within the structure physically relies on the rest as
computed based on its neighbouring petals, drawing
an interdependent system. The form of the structure
off of tangents from the centers of each panel. This
itself also alludes to two completely different
reminds me a lot of other tesselating commands
experiences and appearances. From underneath, the
like the voroni component which essentially splits a
structure appears as ‘vaults’ which are somewhat
surface into cells, following some sort of center based
oppressive and have a strong, enclosed atmosphere.
grid - i.e. they are not just randomly sized and placed.
However from above, it looks like a soft blanketed
When written about in Dezeen2, it is mentioned
material - like a cloud. Not only is the tessellation of
that the architects purposely confuse the structural
petals important for structural integrity, the architects
and material systems. Their ability to use little cells
are also aware that material choice is important. The
as structural components, due to the nature of the
thing wood laminate is both flexible enough to curve
laminate, is a major benefit of cell tessellation.
slightly for the overall form, and to be able to fold 1 http://www.iwamotoscott.com/VOUSSOIR-CLOUD
2 http://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/
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TASK A2 _ PRECEDENT 2
Swoosh Pavilion, Architecture Students at the AA, 2008 Swoosh Pavilion at the AA, is an example of something
A UK article1 on the pavilion read the structure
that isn’t just static and made of simple geometries.
as a swirl that emanated from a central “fulcrum”
Each cell has a slightly different scale and distortion,
and slowly decayed as it wound outwards. This
but overall they have a systematic relationship. Like
sense of changing form at different points lends
Voussoir Cloud, there is a systematic relationship
itself particularly to algorithmic design as it follows
between the elements that has a complexity beyond
a consistent, yet non linear action to define the
what we can imagine and detail out without the aid
form. Consequently the students had the ability to
of computer softwares. There is also an element of
seamlessly transition the structure from shelter to
fluidity that borrows from the structure as well as
seat, from the varying structural heights and densities.
the aesthetics of the design. Both designs are their
The students themselves noted that fluidity was a
structures; they are not a structure with a facade,
key driving factor, and the goal was an interactive
rather an architectural manipulation of their structural
space. The form definitely suggests activity, and
elements which is an advantage of computational
interaction even between the elements within the
exploitation. With the Swoosh Pavilion, it also appears
form. There is a “sense of cohesion”2 between the
to follow the idea of scales, potentially mimicking or
vertical pieces as they follow a manipulated grid in a
inspired by biomimicry where many scaled beings
sense. The students also mentioned the limitations of
taper down to a tail. The relationships between the
computerisation, and were aware that they couldn’t
scales however are clearly a result of programming.
rely on just the commands of the programs. They had
Before computation, there was only basic opportunity
to resort to hand models towards the later stages,
to take inspiration from the patterning of nature
however the computed geometry was a significant
and pre-existing things. However now we have the
base for the design execution.
ability to map the growth, decay, and movement of patterns and units. The performance of design is now considerably more dynamic with the opportunities of computation.
1 http://www.bdonline.co.uk/swoosh-pavilion-swoops-into-view-atthe-aa/3116685.article 2 Quoted from one of the students in: http://www.bdonline.co.uk/ swoosh-pavilion-swoops-into-view-at-the-aa/3116685.article
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TASK A3 _ COMPOSITION/ GENERATION Often generation in architecture is an unavoidable stage in the process, but it is particularly enhanced through the use of digital softwares. The Oxman reading supports the idea of integrated computational design processes, especially as it allows us to create systems, not just a static form. The level of complexity in the relationships between forms is constantly changing, as we find new connections and ways of altering forms, which consequently change the next layer of forms. They suggest that representational design is key in the generation of design into form. There is a digital sequence in our design process which relies heavily on the generation and iterations of forms. A new concept to me was ‘research by design’ which suggests a series of outcomes inform the next stage of outcomes and so forth - a chain. Computer softwares such as grasshopper are incredible means for altering renditions of an idea - it is not necessarily blind generation of slightly different looking things, rather an opportunity to tweak smaller modules within the form, while still following the overall rule sets. It means that we can create so many different compositions with the same underlying technique, style, idea, pattern, relationship and other design paths. Biothing’s Agentware Research and their installation Bloom which I mentioned earlier is a fantastic example of design generation using algorithmic principles and relationships. They suggest clear overall systems, yet there is still a controlled irregularity to the design. The kind of networking involved in this design goes beyond the potential of direct composition. There are limits to controlling where each element sits to achieve balance and other principles. However, with algorithmic generation, an idea drives the design, but there are complex relationships and systems created through computation to express it. This particular project involved key use of fields, which is a new concept to me. It is not as straightforward as generating a pattern or dividing a surface into a grid, instead there are many external factors which induce a sort of ‘magnetic’ field. This plays with attraction of curves, from the centers of the groups, and how the curves respond out of that. There is also evidence of connection between the groups which could suggest a merge or similar type of computation has been used.
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TASK A3 _ COMPOSITION/ GENERATION
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YAYOI KUSAMA
Composition has classically been produced through hand made designs, literally composed through physical sketching - for example in architecture, Venturi largely based his ideas of balance and architectural principal by his composition of shapes on a page. However with the development of technology, there has been a radical shift to computational design, that has a less direct influence on which element is placed where, rather the generation of relationships and dependencies between different elements. These elements however are not static. Yayoi Kusama, a Japanese artist, is unique in the sense that she has touched in the successes of generation from rules and relationships even with her hand-made paintings (pictured next page). She does not view the elements, e.g. spots, as single static elements, rather a network of units that respond to the densities of 3D or 2D shapes and patterns. Her recent architectural installation, a collaboration with Louis Vuitton (Selfridge’s, 2012) was the official translation from her design thinking, into architectural creation; the generation of dotted patterning is clear in her design. The sizing of the dots are relevant to their positioning on the different surfaces and between other scaled dots, so it is evident that it is not simply a randomised composition, it is a calculated generation. Particularly with this scale of work compared to paintings, there are limitations with handmade work, and computation of form becomes necessary. This kind of design as a whole would not have been imagined initially in her mind, rather a starting idea that would be developed over a process. It is remarkable how a clear example of computational cutting of sheeting metal with computed ruling, can relate so strongly to her original hand paintings, and consequentially, her design thinking.
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YAYOI KUSAMA
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TASK A4 _ CONCLUSION TASK A5 _ REFLECTION
I am fascinated by the evidence of growth and development in parametric design, which follows non-linear rules. This means that although a form may follow a rule, we cannot immediately identify what that pattern is; although of course there is still evidence of some relationship. I intend to take an approach to parametric design by ensuring a presence of an overall system in my work, while still maintaining the fine complexity and opportunity from the algorithmic thinking.
am new to parametric design.)
With the programs themselves, I want to continually use them throughout the entire design process, so that it is integrated with how I think about the design, rather than just use it towards the end for the final outcome. This way the opportunities are far greater than the imagination in my head (especially given that I
This new understanding would have helped me in previous designs when considering relationships between elements in a form. Also, in parametric design you often have modules or components that fit together with rules, in contrast to considering a building as a whole and single unit.
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REFLECTION I am surprised at how much we have learned about parametric design so quickly. The concept of algorithmic function is new to me in the design context, but I feel that I am getting a grasp on how it relates to physical forms, and more importantly design ideas.
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REFERENCES 01 02 03 04 05 06 07 08
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Van Herpen, Iris, Crystallization, 2011 (Cover Photo) Van Herpen, Iris, Crystallization, 2011 Van Herpen, Iris, Capriole, 2011 Van Herpen, Iris, Crystallization, 2011 Andrasek, Alisa, BLOOM, 2012 Andrasek, Alisa, BLOOM, 2012 IwamotoScott Architecture, Voussoir Cloud, 2008 Architecture Students AA, Swoosh, 2008
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TASK A6 _ SKETCHES
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B1
Using strips as a base element allow great opportunity for relationships and pathways between the lines. They
TASK B1 _ RESEARCH
have the ability to change direction, reconnect to where they started, move through different parameters and be influenced by surrounding fields. Loop_3 by Co-de-iT architects particularly employs the idea of strips looping back around itself, gravitating back to a central pull, and bending around pulled out points. Interestingly, there is not a single strip continuously looped and folded around the overall shape, rather layers of individually closed loops. These are not regular either, they do not follow a pattern of symmetry between each ‘arm.’ I think that this, like the base example Pavilion, Biothing, shows the ability to alter the paths of curves and strips using fields. It seems as if there are pressure points or gravitational pulls which influence the direction of the curves. This differs greatly from parametric design with tessellation or patterning. There is not sense of repetition, rather the presence of many individual strips that are pulled and stretched and looped around, each very unique but have an overall relationship to their fellow strips. Strips and folding might also be used as a definition of surface. It reminds me of some exercises I used to do with paper, where if you lightly score lines, even curves along the paper you could push the paper edges together, to neatly distort it along the lines. In Silico’s Curved Folding Pavilion appears to represent this similar application, where they have individual manufactured strips with their unique curves and 3D qualities, which fit together neatly along their sides to form an overall surface. Computation is strongly evident through the unflawed matching of each piece to each other, and the The Archepelago Pavilion lends itself somewhat to In Silico’s approach, where it uses individual strips to make up a surface. Differently however, the strips create a smooth finish and almost seamless surface of the structure. It is as if strips and folding is used to panelise the piped nature of the pavilion.
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TASK B2 _ CASE STUDY 1
2. The extrusions were still a very ‘flat’ representation of the overall geometry, so I also tried to pipe the curves, and this gave a considerably better result with the renderings, as there was now a form to each of the tendrils.
4. Tried to loft but I think the loft tool did not know which direction to loft in and what lines to use - I attempted to reorientate the base grid at each point on the curve but I didn’t succeed as evident in the right hand column on the following page
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TASK B2 _ VERSION 1
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TASK B2 _ VERSION 2
Ref fig. 4
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Species 1
01
Base Curves
Species 2
01
There is so much
There were drawn in rhino,
opportunity with the cull
and selected in grasshopper
tool, I am able to create all
to be divided, and worked
sorts of patterns
on essentially
02
First attempts at changing
02
Again selecting curves to
slider bars, changed the
deem ‘false’ i.e. they are
influence of the fields, which
not drawn
as I understand, operates much like a magnetic field
03
04
Changed the height of the
03
I redefined the vector
curve groups, altered the
planes of the circles at the
scale of the PCharge and
divisions, which are the
Decay command which
base of the groups, some
affects the density/pull
are now perpendicular
Started to look at the
04
I replaced the base circle
information lists, and culled
with an ellipse, hence the
some of the curves which
increased density in some
came out from the center
ends of the circle, while the middle is sparse
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Species 1
01
02
03
Changed the PCharge to a
Species 2
01
Here are some failed
significantly higher value,
attempts at lofting the
which meant the curve
curve, initially I tried to loft
clusters came much tighter
around the center of each
together
cluster manually, no success
Varying the length of the
02
If I defined the vector
curve clusters, looks too
direction then I could
splayed out so you do not
get a loft that essentially
get the effect of the overall
extruded along a vector in
shape
the XY plane
Extrusions of the curves,
03
There was confusion
this gave them some
however in the central
substance rather than just
axis of the overall form,
being lines
where there are so many overlapping surfaces
04
I played with different
04
I decided lofting, although
thickness and height of the
looking cool, was a very
extrusions. I also tried to
rough execution, and
loft along the curve but the
started to get complex
definition couldn’t read it
beyond my comprehension
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TASK B2 _ VERSION 3
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Ref fig. 2
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RENDERED PIPE - VERSION 3
TASK B2 _ VERSION 3
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TASK B3 _ REVERSE ENGINEERING
WEEK 05 TASKS
The way I initially read the form, was that there was some kind of panel across a full surface, where the tension between the corners responded to their relative location on the form, or the stresses of the pull in that area. I initially approached this using a box morph, which gave me a general representation of the form, but I was limited to a uniform, pre-
made mesh as a panel, which had to have a minor 3D element.
This was the earlier attempt at box morphing, which still had some success. The mesh was obviously a very rough way to recreate the panel, but it was ablse to follow the surface quite well. It meant however that I had to create a 3D element to the panels. This evetually showed when the panels were scaled. The scaling was also a bit odd as it followed the
nature of a ‘morphing’ box morph, rather than a clear transition between two panel types. The most unsuccessful part was the change in the panels. I relied on the stretching and tension in the panels, solely from the pull of the base surface curves. This was not enough to give the variation I needed for the overall form. Next I tried a variable wall...
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The next method I explored was panelling a surface grid through grasshopper. This meant that it was a 2D surface, like the precedent, and I was able to control the grid more easily, especially with an attraction point.
TASK B3 _ REVERSE ENGINEERING
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TASK B3 _ REVERSE ENGINEERING
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WEEK 5 READING
The Function of Ornament Moussavi, Farshid and Michael Kubo, eds (2006)
I thought that the reading this week on ornamentation
‘design’ of a building - which are often multipurpose,
was particularly interesting, so I thought I’d note it
or have a generalised typology. Generalised space,
down. Architecture is a way of formalising culture,
e.g. shopping centers whose interior is not necessarily
we take the essence of our society, what makes it
specified or tied to the context it is in - it is just loosely
unique and turning the idea into the building blocks
a ‘shopping center.’ It suggests that we are no longer
of our design, much like the principle I’m exploring
designing for a client, the personal investment and
of paneling a form - there is the basic surface or
client relationship is removed. We are essentially
landscape that we must dress, and we need to find
design straight for the need at the time, it has been
the appropriate key to dress it with.
dehumanised.
Progress is finding new developments in our culture, new ways to rearrange the ideas into formal designs.
I somewhat disagree however, one designs a
How we represent the ideas formally has changed
shopping center based off the social culture it
throughout
modernism
is based in, or for the type of shops intended to
translated the ideas of culture of design literally; a
be included. Or, for a library, what kind of books
linear and straightforward translation. Essentially
there are, whether it is children based, community
the way we view the communication of design is
based, or if it is commercial. The architect should be
“historically framed.’ The reading suggests that
responsible for the interior of the space, how rooms/
there are more successful representations of design,
voids work, why certain families are placed where
ones that have the ability to adapt to the social and
they are. The exterior is undoubtedly important, as is
cultural changes in our society. More stylised formal
aesthetics, but you cannot disregard the purpose of
design however is more confined, limited to formal
these buildings - buildings are used by people.
history.
For
example
elements, which is only one way of design thinking. More commercialised buildings limit the depth of involvement from the architect. The requirement, or rather what we see as the focus, is designing the outer
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TASK B3 _ REVERSE ENGINEERING
WHAT I NEED ->
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In this definition I first attempted a variable wall - I
only defined between two diagonal points from the
built the base panel from nurbs curves from points I
square base of each cell in the grid, so it crossed over
selected along a base square and ones scaled form
itself. It was suggested that another way to do this
that. I then created an overall bounded form, which I
was to build a panel from 4 defined points.
paneled onto a lofted curved surface. Once I added an attractor point, there was an obviously morph
This is how the panels seemed to respond to the
between the base panel, and a square cell which I
variation from the attractor point, but I wanted it to
had set up. However, it seemed as if the panels were
morph like the image on the right.
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TASK B3 _ REVERSE ENGINEERING The third attempt at reverse engineering was
was able to more freely play with the overall form,
successful - I found that I had to create the curved
and wasn’t restricted to a single loft.
edge panel, from previously defined corner points. These corner points would later then be mapped
The biggest difference between the previous two
onto the paneled surface, where the corner points of
methods, is that the first controlled variation in
each cell are also defined.
the panels by inputting a starting forming, and an ending form. The second however, controlled it by
Initially I started with a curve, and the grid was
weight of the curve on each side; it could make it
defined upwards from there, however I found that I
very prominent, or have no curve at all i.e. a square.
was able to substitute the first part of the definition
The latter makes it harder to substitute different
with something from my previous attempt - where
panel types. Perhaps something I will explore from
the grid was based off a surface. This meant that I
here is to panel 3D shapes and have variation.
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TASK B4 _ DEVELOPMENT
Series 1
Simple base geometry, first
Series 5
Revisiting the Biothing
tests of the latest paneling
definition I ended up with
method on an extruded curve
last time, as I think there is potential in creating a surface that I can later panel
Series 2
A more dynamic way of
Series 6
Some failed attempt at lofting
expressing the attractor points
the Biothing definition, in
- points still independent of
order to try to get a base
surface, but can be positioned
surface to eventually panel
in stresses of surface
Series 3
Simple grasshopper piped
Series 7
An interesting combination
base geometry from rhino
of the two definitions, which
curves, DeBrep applied
includes the base pipes, and a
to make surface more
double layered paneled ‘skin’
manageable, then paneled as
which resulted
before
Series 4
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Combination of my Case
Series 8
I tried to be a bit more
Study 1+2 definitions, DeBrep
experimental with the
the surface of my Biothing
Biothing definition, spreading
result, then paneled between
out the divisions along the
the points on the pipe
curve, and getting a flatter
surfaces
result overall
TASK B4 _ DEVELOPMENT
1
2
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6
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TASK B4 _ DEVELOPMENT
TASK B4 _ DEVELOPMENT
Notes: I want to capture the representational idea of the first selection, with the more intwerwoven, less broken execution of the second form. De brep played a key role in combining my definitions from Case Study 1 and Case Study 2; the idea that you can have one overall form, seamless and united, then you can break it down into more manageable pieces, and influence each of those in a more complex and detailed way.
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TASK B5 _ PROTOTYPES
Overall Form - Rigidity Detail of connection - Moveable
WEEK 07 TASKS
TASK B6 _ PROPOSAL
FIELDS DENSITIES CELLS TRANSLATIONS SYSTEMS
When I visited Ceres, I noticed that there were all these little systems across the fields, separated into working cells. For example, the chicken coop had its own private quarters, next to the vege patch where each bed was neatly cropped and separated into vegetable types. However, it wouldn’t be unreasonable to guess that the chickens feed off crop scraps, so there are likely many external connections between theses little modules of activity. This is why I think the current iterations I have chosen are appropriate, as it visually represents the idea of cells connecting together at one point, where each module has the opportunity to do its own thing. There is also evidence of repetition and systematic layouts, much like the garden beds and market stalls.
WEEK 07 TASKS
There is an obvious translation between garden bed
for workers while carrying out daily tasks. I realise it
and fruit stall box, between chicken and free range
is a very radical idea, however one of my strongest
eggs, where Ceres participate in all of the stages
impressions of Ceres is that it is all incredibly labour
mainting the animals and site. They are incredibly
intensive. I think that the human connection to the
proficient and self-suficient in there ways, it is a
crops and animals is very important, so I would
closed cycle where even visitors can witness the start
not want to remove them, but potentially create a
to finish.
feeding uniform with personal operation, but while being more efficient. Because of the small scale,
As well as at Ceres, the general length of Merri Creek
responding to a human body, the suit has the
also has an obvious continuation of ecosystem at
potential to be manually operated.
different scales, including the many types of birds around the area, and the aquatic life which is so mysteriously hidden below the surface. My proposal is a chicken/garden feeder/water dispenser suit that is worn on the body, a uniform
WEEK 07 TASKS
TASK B6 _ PROPOSAL
WEEK 07 TASKS
WEEK 07 TASKS
TASK B6 _ PROPOSAL
I think there is something very interesting about the
where there is a sense of community and mutual
idea of densities. It suggests a variation in activity,
appreciation of what is achieved there. Therefore it is
where some parts may be concentrated and others
quite appropriate to note the densities of Merri Creek
less dynamic. All are important to achieve a well
and Ceres geographically. The physical proximity and
balanced atmosphere, particularly at Ceres, where
concentration of things generally translates to the
there is a great need for simple open space, to
level of activity or participation, so it us befitting to
accommodate for students, animals, and general
concentrate on physical or geographical placement.
agricultural work. It is also important, to have a
The example above shows the density, or rather
hub of activity, similar to the fruit market area,
solidity of the panels where the topography is tight.
WEEK 07 TASKS
TASK B7 _ LEARNING OBJECTIVES
Looking at precedents, I find, is an invaluable way to
limited to scale bars. It is so easy to make things with
learn about design - not only do you see a completely
pre-set commands, however the translation between
different imagination and design thinking, but also
each program gives so much more opportunity when
how it is applied to computer programming. The
you understand it all.
reverse engineering task was particularly influential on my because I thought that it was enough to just
In terms of interrogating a brief, this is the first time
logically think through the stages of generation.
that I have strayed from the path of a building or large
However, after creating a very similar panel using
structure. I have decided to create a piece of fashion
three incredibly different methods, I realised that
(loose term) which responds directly to the people
it is so important to find the right method, for the
at the site. I have learned new ways to approach a
next step of the process. The side algorithmic tasks
site when it is focused on the human activity and
have also taught me more than I realise, because I
interaction there. I think also parametric design has
am becoming more comfortable in improvising and
greatly helped my ability to achieve the ideas I want
pulling out commands to alter definitions, while also
- they can express through computation the abstract
understand what it is I am doing. This way I am not
ideas I explore, for example torsion, repetition, cells.
WEEK 07 TASKS
TASK B8 _ ALGO TASKS
WEEK 07 TASKS
WEEK 07 TASKS
PART C FINALISING FORM
WEEK 09 TASKS
TASK C1 _ DESIGN INTENTION REFINED
Something that I have tried to maintain since my
In a more abstract sense of the design, I still
interim presentation, was the idea of elements and
maintain earlier ideas of modules informing other
range and density. From my initial experiments
modules as if in a network. This stems from my
in grasshopper with variable walls, I discovered
observation at CERES where ever mini system was
that small pieces, or rather scales, gave so much
part of a larger whole; for example the food was
opportunity to create a sense of direction or
grown and later sold in another part of the are, the
density in a form, which drew attention to an
food market, or it was used in yet another part, the
overall anchor. As I have been encouraged from
cafe. I assume also that the animals, in particular
the last presentation, I decided to alter my panel
the chickens would also be related to other parts
type into a 3D scale. My precedent, FERMID
too: the vegetable patches perhaps, whether they
(referred to later) inspired the idea of movable,
are fed from scraps or used for maintaining the dirt,
interconnected panelling modules which can press
or even if their eggs are used in the cafe. There is a
together densely, or open up in a splayed motion.
constant sense of connection and interdependency
I want to achieve a form that appears malleable,
which I want to make apparent in the connection
or that as a whole, it can formed to a surface, in
details of my design.
this case the body. I am carrying my initial idea from the interim, the idea of a chicken feeder,
This is also were density is important, I observe
as I think it has a lot of potential to particularly
the are of CERES as a map of active density. Where
develop the aforementioned design goals. My focus
there are these mini systems, there is the hubbub
consequently, is the staff at CERES who would use
of activity and working, and sharing between users.
the suit on a regular basis. Therefore, I need to pay
Then there are great extents of quiet land which
closer attention to the way the suit interacts with
are slowly inhabited by vegetable crops or wild
the body, something I had not considered in depth
animals. The pace of life in these places is much
before. If I had a base form, onto which the panels
more subdued. In my interim I mentioned that the
are connected, which was somewhat malleable
topography of Merri Creek was directly related to
and impressionable then I could essentially create
the activity and inhabitation of the area by various
a second skin so that the workers would hardly be
life forms, so I intend to continue to use this data to
impacted by it.
inform my design aesthetically.
WEEK 09 TASKS
TASK C1 _ USER GROUPS
One of my strongest impressions of CERES was that it was incredibly labour intensive. In every area I visited there was always someone loading a van, doing intensive gardening, maintaining the shops or tending to the animals. My idea is to help the process by creating a suit that makes everyday tasks more efficient. I am particularly interested in focusing my efforst on feeding chicken/vegetable gardens. The suit would be used exlusively by the CERES team, and would become part of their uniform, if they were carrying out any feeding tasks. It needs to be lightweight, moveable, and efficient at dispersing feed.
Also, visually, I remember seeing some unique and very beautiful chickens, whose feathers staggered in their shades of grey for example. I sought to emulate that beauty, as it was appropriately connected to the purpose of the suit. The suit would both adopt the essence of its subjects, but still provide some protection from the poultry, who can be quite violent at times.
WEEK 09 TASKS
WEEK 09 TASKS
TASK C1_PRECEDENT - FERMID
FERMID uses parametric design to create variation and actual movement into the work. The panels work like scales, rotating around eachother to create an impressionable form, which dictates the pressures and tensions at different places. I think its choice of panel is very interesting as the way they are connected relates to everything around it, it means that you to consider its neighbours before you construct it or affect it in any way. It also means that if you were to influence it or shape it in anyway, it would bring its neighbours with it. The use of a pin joint here is crucial as it allows free movement between the cells of the form. However, I would imagine that these are not very loose connections, because that would cause the form to sag overall. I wonder too, if I need a base strip at all or if I should try to use the panel itself as the binding strip between? But base strips give more freedom to form to the body.
WEEK 09 TASKS
TASK C1_SITE AND DATA
Create base curves to mould to user - the body
Divide curves so there are points of reference
Create panels using nurbs curves, from previously defined points
Scale by changing direction, size of lines, offset distances
WEEK 09 TASKS
WEEK 10 TASKS
This group of the definition concerns the base shape which drapes over the shoulder. It starts from a point and curves flow outward through a field.
The small groups are repeated commands which help to scale the panels - they are placed in positions which allow me to control height, width and sharpness by governing the points which define them.
WEEK 10 TASKS
C2_USING GRASSHOPPER THE CORE CONSTRUCTIONAL ELEMENT
WEEK 10 TASKS
On the left page and above, are some of my sketches are I was trying to understand the process of creating my forms in grasshopper. Each element that I scaled had to be done in a different way, and sometimes I wanted to do a scaling which involved all of the defined points I had, so I had to find which points I needed and how to connect them in order to scale something in one go. To the left are some of my initial thoughts of connections were using pins which were nailed into pieces of mdf or boxboard, but I later found that this was impractical given the thickness of the materials, and the number of panels I would have to make.
WEEK 10 TASKS
Interesting interations with extremes for different scaling types - but they definitely test the limits of fabrication, and functionality as a design
WEEK 10 TASKS
TASK C2_BETWEEN MODEL SPACE AND FABRICATION
This stage of the design was
material when I was in the
details, but I knew that some
critical as I had to consciously
beginning stages of this design,
of the sharper (bottom right)
think about the reality of
but once I had more formal
iterations would not be realistic
each iteration, in terms of
iterations, I realised it would
given the way polypropylene
material and joints. My chosen
be very dificult to create wired
bends. Also, one of the more
material is plypropylene palstic
structures for the material
major shifts in the design, was
sheeting, as I think this would
to be in tension in between.
going from the scale of the
be the most succesful for the
The benefit of plypropylene
bottom row, to the scale and
forms in my design; Paper
sheeting is that it has a variety
number of panels as the upper
would not withstand the forces
of colours and opacities, it
row of iterations. The bottom
of being bend, it would either
is moveable yet strong, and
row had panels which were
fold, or would be far too flimsy.
can allow more structural and
only 1cm wide, and it would be
Card would be very stiff and
harsher joint methods.
imposisible to bend any thick
likely buckle in unwanted
I did various sketches as I
material in this way, as well as
places. I originally considered
went of potential connection
fix it to something else.
WEEK 10 TASKS
TASK C2 _ FIRST PROTOTYPE
The key success of my prototype I found, was the movable relationship between each of the panels and strips. As I had mentioned in my refined design intention, I wanted to be able to create densities and splayed out forms - These twisting joints make the form retractable. It is considerably more interactive that I had anticipated from the grasshopper models, and I found a lot of joy in pushing the panels into eachother, then pulling them out again. This also emphasised the idea of gradual scale, as the panels neatly fit into their bigger counterparts. One of the failures of this prototype, was that one of the joints split apart, and there was nothing I could do to save it. I later found that this was due to the excess stretched material from when I created a hole in the plastic - that had bunched up under the eyelet. There were two ways I approached this. First I tried an alternate way of pulling the points into each other (pictured) with a bent metal wire, and from here I could potentially use the wire as an axle in the base strip. In theory I thought this idea had potential, but in practice I quickly realised the difficulty of cementing the bar in position relative to the eyelets. Also, if I put the axle through a base strip, it would be very loose and not hold any form that I intend it to. The second approach was using a hole punch to create the base hole. Initially I didn’t try this, as the tool I had made a small hole which created the friction around the eyelet and I thought the hole punch was too big. My fears were correct at first, as the hole punch was slightly bigger than the ideal hole for the eyelet, however I solved this by hitting the hammer on the eyelet just a little bit harder! The pressure from either side of the eyelet allowed enough friction for me to freely, but importantly, control the form and movement of the eyelets. WEEK 10 TASKS
WEEK 10 TASKS
TASK C1 _ TELESCOPIC NATURE
Physical prototyping became a significant
fabricating, to ensure that I didn’t have stray
part of the design process, as it put theory of
panels which ‘flopped’. The biggest advantage
joints and movement into real properties. For
of the telescopic nature of the strips, was that
example, my intentions with the base strips of
I could push and pull them into dense, and
the panels were for them to loosely mold to
spaced out ‘empty’ zones. This emphasised
the shape of the body, in a draping or falling
my initial ideas of densities and variable forms.
motion. I later found however, that the level
Another thing I discovered was that I could pull
of stiffness in the joints affected how it would
the ends of each scale up so that they protruded
behave. If I tightened the eyelets for example,
more dynamically. This was accentuated by the
I could have a considerable amount of control
panel shape, position and gradual variation
over the form - the arms could even become
in scale. It looked like there was an overall
telescopic. I took this into account when
direction and movement in the form.
WEEK 10 TASKS
There is this constant shift between physical modelling and virtual alteration, back and forth which inform each other’s process. Due to the nature of the panels, certain shapes had a more significant impact visually. I had many iterations of panel types (pictured next page) which looked lumpy or really flat, as the width of the panel affected how the propylene would bend around itself. Therefore the narrower, sharper panels were far more successful (pictured above). It also meant that the end point was defined when I needed to express them in the ‘pointing out’ ‘active’ positioning. Also, with this
WEEK 10 TASKS
second prototype, I also strated to experiment with different coloured materials. I found a polypropylene sheet in a white matte colour, and aalternated the panels. I think that this is a stubtle but succesful way to denote variation in the form (The scaling is still quite subtle but I don’t want to exaggerate it as the larger panels would become clunky). I will investigate later on some ways to incorporate or fully utilised the different material colours, it is also avalable in black. The last thing to consider is eyelet colours, which have corresponding colours to the polypropylene sheets luckily.
WEEK 10 TASKS
TASK C1 _ CLOSER LOOK AT JOINTS
WEEK 10 TASKS
TASK C2 _ CLOSER LOOK AT JOINTS
WEEK 10 TASKS
FABRICATION MDF Panel for base, with notches for insertion of strips. Strips attached by tying string around strips and finally gluing. All joints along the strips are movable, fabricated using eyelets.
WEEK 10 TASKS
WEEK 10 TASKS
TASK C2 _ FABRICATION DETAILING SITE DATA
Once I had found a final form and had begun to consider frabrication, I played around with material types and particularly, material colours. I found that the individual panel system meant that I could fabricate each panel with its respective strip piece (pictured above) and attach all these elements together at the end. Consequently I had a lot of freedom with the colouring of each panel. To inform my choice of pattern, I referred back to part A and B where I took datat from the activity of the site. I found that the topography and densities of landmarks corresponded to the density of activity and life in the area. I then abstracted this desnity map to create a curve, which the panel order follows. WEEK 10 TASKS
WEEK 10 TASKS
TASK C3 _ RENDERING
Rendering was the final stage before I fabracated
doing this. Another benefit of rendering is that I can
the full model. It gave me a strong indication of the
see, quasi-realistically, how the form will sit on the
success of the multicoloured panels, and I think it
shoulder. I want the base plate to act like an anchor,
is definitely a design choice worth pursuing. From
that attached to the lapel of the CERES workers
here I have chosen the different opacitices and
uniforms. From here the strips will drape and form
colours in polypropylene. I was also able to test
to the body. Something interesting I noticed with
virtually, the shift between sagging panels, and
the prototyping is the agility of the strips, so I would
protruding ‘active’ panels. Although I feel that this
imagine at this scale, with so many strips, that
is a very basic indication, I can see how the nature
there would be a very interactive feel of ‘swishing’
of the panel direction can so dramatically affect the
around. If the user were to twirl, the strips would
form. In terms of physical fabrication the jointing, as
respectively flair out like a long skirt for example.
discussed before, is the only thing that permits me
This could be worked into the use as a feeder.
WEEK 10 TASKS
Experimenting with colour I tried a transparent blue in place of the colourless, to mimick the bright colours sometimes found in chicken or exotic bird types - I don’t think this is a design consideration worth pursuing as it adds no weight to the design, and I prefer the aesthetics of the greyscale
WEEK 10 TASKS
WEEK 10 TASKS
TASK C3 _ FINAL MODEL RESTING POSITION
In its execution, I think the design incorporates the feathered appearance or impression of a bird, but still maintains a severity as if it is a protective armour/safety gear. The base strips successfully responded to the shape of the body, particularly as I moved it around on them. Each strip had an added weight too which I did not anticipate in the Rhino and grasshopper model: if anything, this aided the illusion of drapery on the body. The top plate/ junction was the least successful as, in my crit, it was mentioned that it detracted from the overall aesthetics. Perhaps a quick approach to fixing it would be to render the plate black, however in a more complex solution, I could try to design a lighter looking structure out of polypropylene too. The only worry is that I will lose the rigidity and harshness of the immediate surrounding panels, if the new base is too flopppy. WEEK 10 TASKS
TASK C3 _ FINAL MODEL
WEEK 10 TASKS
TASK C3 _ FINAL MODEL AGRESSIVE: MY INTENTIONS WERE SUCCESSFUL
WEEK 10 TASKS
WEEK 10 TASKS
TASK C3 _ FINAL MODEL
TASK C3 _ FINAL MODEL
PART C3_FINAL FIXED TO SHOULDER LAPEL OF CERES STAFF UNIFORM WEARING THE MODEL KEVIN HUYNH
WEEK 11 TASKS
WEEK 11 TASKS
TASK C4 _ LEARNING OBJECTIVES
One of the main considerations I took from the final
with the joints were not so successful until I came
presentation, was the main base plate onto which all
across eyelets. They allowed so much control in
the strips are fixed. I started to explore lighter and
the position of the joints, and most importantly
less obvious methods to create a central junction
the tightness of the joints. Without the movement
for all the strip ends. The hardest part is accounting
restriction that the tight joints allowed, I would not
for the weight of all the strips. I did some
have been able to express as clearly the different
experimentations with polypropylene (pictured
forms of the model, at rest and ‘active’ when
right) which allowed me to use the curve of the
pointing out, nor the retractable nature of the arms.
material against itself, working both in compression
The particular process that I took with grasshopper
and tension. The only problem was however, that
was incredibly helpful in understand relationships
not matter how high the stresses and pressures
between elements in an algorithmic sense too.
against it were, the thickness of the material would
It was not as easy as just scaling all the panels
never allow me to take much weight. So far the
together in one go. Each of my panels were defined
only successful method I have tried, which not only
by curves which were defined by points which in
worked in theory but also in practice was the mdf
turn, were defined by other points that had been
base plate. Even with this I still had some difficulties.
offset from division of the base curves. EVERYTHING
I needed the strips to sit vertically in it, which meant
was interconnected and I think ultimately my
that it was really easy for the weight of the strips
design somewhat showed that a little aesthetically.
to pull it out. Consequently however, I tried some
Grasshopper’s role in my design thinking has now
new methods. I put string through the ends of the
radically shifted the way I approach a design. I used
strips and sandwiched them in between the layers
to think of computational design as a mysterious,
of mdf. This stopped the lateral and vertical forces
untouchable force that created beautiful thing out
in one go. To refine this method I would painted
of accidents. I now see that the ability to manipulate
the base plate black, to stop the overwhelmingly
different points along a definition, and to know
obvious colour from distracting the viewer. In terms
exactly what you’re controlling gives so much more
of the strips and joints however, I am quite happy
depth to the overall design, and especially where
with how it turned out. My initial experimentations
the design could go from there.
WEEK 12 TASKS
WEEK 12 TASKS