PARAcatalogue (metric) -FASHION 2014 VahId EshraghI _ ArIan HakImI Nejad _ MICHELA MUSTO
OUR TEAM
VahId EshraghI
ArIan HakImI NEJAD
MIchela Musto
is architect and photographer. He started studying architecture in 2002 at Islamic Azad University Tehran Central Branch. After graduating bachelor studies he obtained rank 3 in entrance exam for graduate studies in field of Architectural Technology in 2009 and entered university of Tehran where he had chance to probe into new computational design and manufacturing techniques, tools and theories. In 2011 he started a research based design as his thesis based on algorithmic development of Iranian Islamic patterns and its potential for new implementation in architecture and structure. he started studying Master of Architecture and Urbanism at AA School of Architecture (Design Research Lab) where he had chance to learn from Patrik Schumacher as studio tutor and Theodore Spyropoulos and Alisa Andrasek as tutors. Working with patrik Schumacher who is a distinguished theorist as well as the Zaha Hadid partner brought to him opportunity to learn and practice principles of parametricism and new generative design approaches. His studio project was on parametric semiology which aimed to propose a prototypical system of design for a fashion center. He joined Zaha Hadid Architects in May 2013 where he was working on number of projects such as developing design of a complex façade for recently unveiled Zaha Hadid project, Macau 5 star Hotel and Casino. In the field of photography he is an experimental photographer of nature and in 2007 was nominated photographer of 10th Biennial Photo Exhibition of Iran.
is Persian Architect, Photographer & Painter. In 2004 he started his undergraduate studies in India (U of Pune – MMCA), on 2006 he continued his further studying at (U of Tehran – Faculty of Fine Arts) from which he received his B.Arch. for his thesis project (Persian Museum of Lost Arts) for that, he started practicing Persian Glass Reverse Painting for 2 years which some of his paintings were shown in 2 exhibitions in Tehran.In 2011 he came to Barcelona to continue his graduate studies at IaaC – UPC, during his time in IaaC, he attended the Emergent Territories studio by Willy Muller & Maite Bravo 2011-12, and his research was on Future cities (how real time data could affect the shape of the cities), Where he and Diana Nitreanu presented the project for t he M.Arch I thesis, an extension urban zone Barcelona, where the buildings reshape themselves the several data parameters. In 2012 he continued his further research on Solar houses with Jordi Pages I Ramon and Lluis Viu Rebes. With the concept of how the intelligence of architectural form of a building could affect the energy efficiency of the buildings. The project has been well received as an innovative solution on how the transformation of data in mathematics could optimize the architectural form.Since 2012, he started collaborating with Laboratorul de Arhitectura and as main instructor in Parametrica [Digi Fab School]. both from Bucharest, Romania. He has conducted two workshops: – PARAMETRIC DESIGN Workshop 6-7-8 July 2012 – Architecture in Fashion 11-12-13 Nov 2012. Currently he is working at Zaha Hadid as an Architect, where he conducts researches in the various fields such as Bio digital Architecture and Parametric Design.
is an Italian architect and designer. Recently graduated as MSc in Emergent Technologies and design at the Architectural Association (AA), researching on water symbiosis systems under the advisory of George Jeronimidis and Michael Weinstock. The published dissertation ‘‘Water symbiosis in the desert’’ is the last expression of her interest and knowledge about sustainable, low-carbon emission constructions. Her involvement with the world of architecture come along a deep interest of computational sciences and 3D printing techniques. She is co-founder and art director of the Académie d’art et musique of Naples, curator of its photography, art and design exhibitions. She had being working in fashion design and had being curing the stage costume for theatrical representation at Teatro Comunale di Ferrara. Had been architectural assistant at Gramegna Architects in 2011 and had a long collaboration with the Magic Stones Real Estate in Italy. She received her B. Arch. Degree from Università degli studi di Ferrara in 2011 and more than one certification relative to the research over the energy control in the building process. Her international experiences in the field of architecture and design let her to move further in the teaching and the focusing of parameter- based design. Now she is a teacher and researcher in this field and a free lance architect in France.
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OUR PHILIOSOFY
It has been always precedent that design methodologies in each field flows over others. As so, appearing of parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. In this regard disciplines involved in more complex geometrical challenges such as fashion design are becoming more potent to take the advantages of computation. Looking at human body as a complex built structure needs to be covered; a design research is set in form of series of workshops investigating how parametricism principles and methods can be associated with fashion design. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion criteria. In this way there are additional challenges such as body dynamism that parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. In this regard the main workshop focus is placed on two parts of physical and digital experiments working in a reciprocal process to benefit the most of each other. In the physical part fabrication techniques and material behaviour will be investigated and in digital part simulation of physical experiments as well as computational concepts will be studied.
Additionally as the workshop approach demands certain knowledge of parametric tools and fabrication methods, prior to the main workshop a series of tutorial sessions are designed to transfer adequate knowledge of software such as Rhino-Grasshopper and fabrication machines like Laser cutters and CNC machines. In this way students will be well equipped to deal with the various aspects of workshop research ambition and come up with novel designs. Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. The agenda of this workshop is to investigate on the overlap between these two areas of design, art & fashion. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously. And while fashion is, by its very nature, ephemeral or ‘of the moment’, architecture traditionally has a more solid, monumental and permanent presence.
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OUR PROPOSAL
The project PARA(metric) FASHION is organized in 2 parts seeking to create an inventive collaborative environment. The workshop is part of a series of events, promoting computational design thinking and exploring the new possibilities of parametric design. The project is open for anybody interested from all the fields of design, including: architecture, interior design, furniture design, product design, fashion design, scenography, and engineering.
1. COURSE MODULE Type: A 4 days intensive course regarding basic knowledge in parametric design + software: Rhinoceros & Grasshopper + level: 1 + plugins: Kangaroo, Weaver Bird, Lunch box, Ghowl, Geco + achievements: - acquainting to the components & the concept of Generative Design - understanding the strategies in Algorithmic Design - how to easily insert simple mathematical equation into the project to gain more control - how to utilize proper plugins with respect to their nature of the project - interacting with different analysis platforms such as Ecotect & remote controller - solving several exercises with different scales (2D-3D) during each phase of the workshop
2. WORKSHOP MODULE
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A 5 day Design-Based Research Workshop exploring new techniques in Digital Architecture and Fabrication, with a specific focus on the use of generative systems and parametric modelling as tools for creative expression. Our ultimate goal is to increasing the efficiency of utilizing digital tools in parallel with geometric performance of the primitive design agent.
- Analysis of computational geometry (How to decode geometry) - Understanding potentials and restrictions - Strategies for further development (Growth algorithm) - 2D-to-3D Techniques (slicing, contouring, triangulation) that exploit the flat logic of cutting tools - 3D printing (Makerbot) - Process into Design (Documentation)
The workshop is designed as a team base one and consequently the duration of 5 to 7 full working days provides enough time for students to finish their work. Following the working days there is one presentation day in which student have chance to present their work and criticized by a distinguished jury. Additionally and prior to the main workshop there is a 4 day software tutorial focusing on Rhino, Grasshopper and other necessary Rhino plug-ins. This is to improve related computational skill of students and prepare them for a more productive workshop.
+ + + + + + + + + METHOD + + + + + + + + + Dealing with the workshop brief, students are requested to take one of two design methodologies; ‘Top-Bottom’ or ‘Bottom-Up’ approach. In Bottom-Up approach solitary units are studied to investigate their possible variation through altering involved parameters. In the next stage the main focus is placed on types of aggregation and ways to generate surfaces using the selected components. In Top-Bottom method students are asked to study human body fabric and look for ways of tessellation and pattern generation trough cutting, folding or hatching.
+ + + + + + + TECHNICAL BRIEF + + + + + + In the early stages physical models and lowtech strategies will be used, allowing the participants to gain a greater understanding of materials, fabrication and assembly methods as well as simple, yet pragmatic structural solutions. Later these strategies will be digitalized and elaborated using software visualizing tools such as Rhinoceros and the algorithmic plug-in Grasshopper. Finally, projects which have achieved the target level of development will move to the fabrication part, using 3D printing or laser cutting, in relation with the development of each group.
+ + + + + + + + + OBJECTIVES + + + + + + + + Following the research ambition and through the design process the workshop is aiming to establish a comprehension of -Generative Design concept -Algorithmic Design strategies -Experimental base design process -Mathematics role in design through dealing with geometries. -Material behavioUr through cutting, hatching, folding and so on So far, Architects have been using techniques such as folding, bending etc. to create space, structural roofs or different other structural shapes. The agenda of this workshop goes further with the investigation of algorithmic thinking through generative tools Integrated in design. The challenge is creating a bridge that connects these two areas of design, architecture and fashion that perform at two opposite scales.
+ + + + + + + + + MATERIALS + + + + + + + + The range of material includes: - Paper, cardboard - Felt, leather - Plexiglas, hips - Polystyrene - ABS
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PARA(METRIC)-FASHION WORKSHOP 01 APRIL- 03 MAY 2014 TEHRAN, IRAN
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01 . MUV
STUDENT 01. KHALEGIAN The concept is based on the idea of realising a modular dress, flexible and able to fit every possible size. The unlimited possibilities that the aggregation on the single component is providing will allow to enable every different movement of the human body. The ability to personalise and to adapt the pattern time by time one of the driver that directs the design of this unique experiment of parametric design. The catalogue of components is based on the variation of parameters affecting the dimension of every single part of them. The folding points, the variation of direction of the folding, the length of each side are all affecting the emerging pattern. Another characteristic part of those elements are the joints. Each elements is studied to be assembled mechanically and each of them is studied in relation to the direction of the movement of the body. A variation related to the components are the holes that add a gradient of transparency to the 3D surface of the dress. The code from which the elements are emerging is starting from single primitives: curve and points that are controlled by the graph mapper. The interaction between the distance of the geometries and the use of domain help the control of the final result. The result is a digital and physical catalogue of components that can be assembled achieving an astonishing variety of 3D dynamic surfaces able to adapt themselves to the shape and the movements of the human body. The poetry that emerge from a simple component is coming from an attentive control of every characteristic of the objects. The study of the joints as the gradient of transparency enrich this complex fashion item adding a level of complexity which make it an interesting input to further developments.
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01 . MUV
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02 . folDIng collaR student 01. NILOOFAR student 02. NAHAL STUDENT 03. MOSTAFA The research in this design project is based on the exploration of the behaviour of the material in relation to the geometry of the cutting applied on the surface. The challenge is to manage to create different configuration for each movement of the body. The notable result is that with specific design of the wide of the material the obtained pattern are double and identical. Being the movement embodied naturally in the structure of the body the result of this idea prove to be more than interesting. The catalogue in this case is composed not by components but by patterns. Starting exploring the more linear and essential cutting, the tests then evolve creating more articulated and smooth one. A particular attention was related to the density and the distance between the different component of the pattern. The variation of parameters affects so not just the variation of the pattern but the hole result of the design. Not all the patterns nor all the variations of the same pattern allow the same movement and can affect the entire dynamism of the surface. The physical model simulating the dress itself was studied for the specific 2D rotating movement of the arm and shoulder. Another test started instead in the lower part of the body using the rotation of the leg. The result is a really interesting and valuable physical model ready to be translated in a more adequate material. The digital research in this case were representing a proper tool to improve the physical result.
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02 . folDInG collaR
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03 . COMPLEX SURFACE
student 01. NILOOFAR SOORAKI
The concept developed in this design project is to explore the possibility of a simple geometrical primitive with three single wings. The number of the different variations on this theme are significant as significant is the amount of parameter taken into account. The ability of regenerate the code considering the wing extension, the angles, the centroids, the offset of the edges the gradient of proportions is endless. Although the 3D geometry of the components varies, the system remains coherent with the chosen primitive. The 2D design obtained by the computational simulation are translated into cutting lines that will define the folding parts. The convex and concave area are defined accurately. The physical model is based on the aggregation of components according to their joints. As the catalogue achieved counted a big number of elements, the action of selection become crucial for the achievement of the 3D dynamic surface. In this choice the geometry of the joints which have to be able to allow a mechanical and coherent union among the single parts in order to create a unique and wearable object. The result is an interesting 3D flexible and modular structure able to be expanded until covering the whole body. This reversible system allow to calibrate the length and the coverage of the dress. Simply adding or removing mechanically the single components an endless variety of configurations are achievable. The technique proved to be efficient and extremely functional.
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03 . COMPLEX SURFACE
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04 . NAM student 01. AMIR HOSEIN BAZIANFAR student 02. MOHAMMAD GARMENJANI STUDENT 03. NIMA NIAN Fashion is a popular and distinctive style or trend. Although some trends are feminine or masculine, some then are androgynous. The proposed system emerges from top bottom approach which explore at the same time the surface covering the body constituting the dress and simultaneously the different patterns that will be laser cut in the enrolled surface. Metaballs are, in computer graphic, organic-looking n-dimensional objects. The technique for rendering metaballs was tested by Jim Blinnin in the 1980’s. The research in this sense had been directed to find a more efficient falloff function which requires several qualities as a finite support, that create a hierarchical culling system and the smoothness that avoids the formulation of expensive square roots calls. The linear solution that had been achieved is to apply the falloff curve to distance-from-lines or distance-from-surfaces. The physical model had represented a secondary stage and is due to be explored in further researches. The complexity of the digital exploration gave life to geometries hardly manageable in the physical model. The result is a deeply complex parametric pattern applied to an unrolled surface constituting the dress. A deep exploration of generative algorithm had let to different option of design. The physical model, realised with cardboard and laser-cut led to test not only the design of the pattern but also its density and its interaction with the human body.
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04 . NAM
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05 . MOIRE PATTERN
student 01. AMIR HOSEIN BAZIANFAR student 02. MOHAMMAD GARMENJANI STUDENT 03. NIMA NIAN The essence of the moiré effect is the perception of a distinctly different third pattern which is caused by inexact superimposition of two similar ones. The mathematical representation of these patterns is not trivially obtained and can be somewhat arbitrary. We shall give a physical and computational example of two parallel patterns whose superimposition forms a moiré pattern, and show one way (of many possible ways) these patterns and the moiré effect can be obtained mathematically. Moiré patterns are often an artifact of images produced by various digital imaging and computer graphics techniques. The goal was to achieve this effect using the natural dynamism of the human body. Understanding the range and the directions of the movements the design adapt itself in order to maximise the moiré pattern.
1)Type: 1Dis
: 0.2 mU/V : Div : 15*10 m
Type: 1 Dis : 0.2 m U/V : Div : 15*10 m
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Curve
Type : 1 Dis X : 0.2 m 1)Type : 1Dis : 0.2m m Y : 0.2 mSize Box Y :X0.2 Size Box : 0.2*0.5 m U/V : Div : 15*10 m
: 0.2*0.5 mU/V : Div : 15*10 m
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Curve
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 m
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Curve
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Curve
The computational tests begin with the iteration of simple geometric primitives and develop its design altering the attraction points. The overlapped alternation of empty and full part of the surface give life to unpredictable third pattern that use the transparency to create new optical design. The physical model, the unrolled surface with laser cut computationally generated patterns, is studied to enhance the specific dynamism of harm and shoulder. The achievement of a coherent Moire effect requires a precision in the combination of the two layers that have to move coherently and in a specific range. The challenge of using this concept for the system shoulder-arm penalise the original idea that could have more easier applied to the movement of the legs for a skirt or a trousers. The balance between digital research and physical model is successfully achieved.
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point
1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Curve
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Point
Type: 1 Radios : 0.38 m U/V : Div : 15*10 m Att Type : Curve
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05 . MOIRE PATTERN
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06 . INTERACTIVE COMPONENTS student 01. SAZEGARA student 02. RAHIMI STUDENT 03. KHOSRAVI The approach explored in this project tend to reach the dynamism not only by the interaction of the single components among them but by the behaviour of every single component. Every single element is the combination of two layers that recreate a unique interactive components. The rotation and the sliding in the x direction of the upper portion of the component enhance the opening revealing the bottom layer. The biomimetical inspiration of the flower geometrical behaviour appears clearly in this project. The computational experiments are strictly related to the result of the physical model. The particularity of the dynamism of the component of the surface is the transmission of the movement from element to element. The translation of the two layers affect the behaviour of the adjacent couple of layers. This create a coherent transforming surface with a high level of complexity. Due to the function of the joints that have the role of transfer the movement and to constrain it only in the needed direction, the research made in this sense was crucial for proper success of the design. More material had been tested and more configurations remained possible. The result is a system that prove to work and a deep knowledge and understanding of the dynamic of the single components. Due to the complexity of the design and its dynamism the model is not defined in its overall geometry but is ready to be improved and completed in further developments.
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06 . INTERACTIVE COMPONENTS
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ACTION . . .
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PARAMETRICA
ARCHITECTURE IN FASHION ARCHITECTURE IN FASHION
WORKSHOP WINTER WORKSHOP SERIES L A B O R ATO R U L D E A R H I T ECT U R A & PARAMETRICA IN VIT ES YOU TO PARTIC IPATE IN THE ARCHIT ECTURE IN FASHIO N WORKSHOP, SEEKIN G TO CREATE AN IN VENTIVE COLLABORATIVE ENVIR ONMENT.
ARCHITECTURE IN FASHION WORKSHOP
ST U D E N TS U R BA N D ES I G N E R FAS H I O N D ES I G N E R
LANDSCAPE DESIGNER
A R C H I T ECTS
11 - 13 NOVEMBER 2013 BUCAREST, ROMANIA
A R I A N H A K I M I N EJA D ( I R A N ) A R C H I T ECT ( O N - A , S PA I N ) DIANA NITREANU (RO) M A A 1 0 A R C H I T ECT ( I A AC , S PA I N )
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01 . THE BEEHIVE
STUDENT 01 . Hamed Karami The concept was based on the shape of the hexagon beehive. The primitive component studies based on a simple triangle being divide from its centroids & folded at its end. Second stage was to understand the control parameters which effect the geometrical performance of the component & a physical catalogue was provide for better visualization in variation. 3rd stage was to combine the primitive components to understand its behaviour in terms of curvature & analysing/calibrating its growth algorithm. During this stage some mutated components has to evolve from basic component catalogue, in the form of joints between prototypes. The last stage is to assembly the prototypes on the defined geometry. Human body�
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01 . THE BEEHIVE
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02 . ADAPTIVE SPINE
student 01. mostafa shadkam The idea was to create a repetitive component which had a possibility to deploy it and to make it extendable rather than being unrolled. Further studies on the component came into the possible horizontal/ vertical development and due to the nature of the paper & its folding creases it gives the opportunity to get the curvature and twisting at the same time.
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02 . ADAPTIVE SPINE
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03 . SPRING CLOTHES
student 01. mohammad seijani The whole dress comes from a square base primitive with 3 folds. A straight forward catalogue produced to analyse the geometrical performance of the component through different control point displacement & angle variation. Due to its unique form it has the potential for cross joining growth path, which later on could developed into 4 wing joint. With a simple rotation in join it could merge into another component & create a pattern shift. Symmetrical growth with full control over the opening it overlay the body surface & the final product has the potential to be utilized in different scale & different function.
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03 . SPRING CLOTHES
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04 . ITERATIVE COMPONENTS
student 01. niusha tayyebi The exploration of this design started wit a simple primitive, the square. The manipulation of this geometry gave life to stars-similar components. The convex and concave surface of this component are generated with the laser cutting tool. The bending became crucial for the design of the components. A dense catalogue of prototype had been created manipulating the parameters involved in the geometry. The control points variation allowed to drastically modifying the physical model. The research focused then in obtaining geometries with more or less stiffness that let to the creation of a list of components. Considering the complexity of the overall surface the problem of how to join the different components became crucial. Mechanical joint of different material had been tested until deciding for another material to be used. The star shape allow a certain degree of dynamism in the dress able to follow the shape and the movements of the human body. The contraction of the element also allow to achieve a system which is customised to have more rigidity and stiffness in some parts and more flexibilty where this was required.
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04 . ITERATIVE COMPONENTS
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06 . STAR WORLDS
student 01. donyaa amiri The single components that are part of the catalogue started simultaneously exploring a single square components and adding folding and variation to it. This strategy is used to add level of complexity that can create more interesting geometries. The aggregation of those primitives manage to appear as an unique surface. Is at this stage of the design that the idea of developing a simple components merges with the idea of exploring the patterns. A similar miura-ori pattern start to emerge. The exploration at this stage moved into the creation of a pattern that could create a multi curved surface. Realising the complexity to realise a modular pattern for all the part of the body the ‘‘pattern approach’’ was left behind to come back to the component catalogue. The computational experiments are strictly related to the result of the physical model. The particularity of the dynamism of the component of the surface is the transmission of the movement from element to element. The translation of the two layers affect the behaviour of the adjacent couple of components. This create a coherent transforming surface with a high level of complexity. Due to the function of the joints that have the role of transfer the movement and to constrain it only in the needed direction, the research made in this sense was crucial for proper success of the design. More material had been tested and more configurations remained possible.
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06 . STAR WORLDS
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ACTION . . .
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ARCHITECTURE OF DIGITAL FASHION WORKSHOP 23 - 27 APRIL 2014 TEHRAN, IRAN
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01 . NONEYCOMB
student 01. AMINA AL-ADHAMI The first step of this project was to consider the morphology of the human body and elaborate a pattern that could be adapted to it. The proposed texture is easily adaptable to multiple shape and can be easily transformed to better fit any body shape. The material properties are considered when choosing the pattern and its position over the body. Depending on the number of cuts the material is able to acquire flexibility or more stiffness. The fabrication process involved the use of laser cutter technology and 3D printing machines. In order to better adapt the 3D pieces to the flat surface of the laser cutter small bases had been attached to the 3D pieces. This project is realised with the Rhinoceros software and its plug-in Grasshopper. The definition which was realised had been constantly modified along the building process to fit the multi curved surface of the human body in order to get different configurations. Any slight change in the parameters produced visible and important differences in the output. The results were compared and the most suitable had been chosen as final configuration.
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01 . NONEYCOMB
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02 . OCTOPUS DRESS
student 01. Calina Griguta This project started with the pattern documentation. Trying to find the most interesting variation of the circular geometry according with different attractors. The diversification of the radius had been observed using primitives as attractors: points, curves, surfaces. The Rhinoceros software had been used to create an homogeneous surface and its plug-in Grasshopper had been essentiall to manipulate the surfaces. Starting from a small square grid of 5x5 diamonds panels were applied. Another experiment was then considering a triangular grid. On this base multiple dimensions had been tested: 5x10, 10x10, 10x15, 15x15. After considering multiple curve attractors the best result had been selected and randomly some circles had been extruded with different height until the desired result had been achieved. According to the specific body parts, this model had been conceived in order to be customised so that the concept can be easily read. The number of rows can increase or decrease both vertically and horizontally. The same structure proved to be suitable in different scales. A dress, a bracelet, a necklace and a belt were all realised following the same concept. The physical model had been realised using the laser cutting technique and the 3D printing tools in order to obtain the most suitable result for a dress ready to wear.
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02 . OCTOPUS DRESS
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. THE TRIANGULATOR 0103 .The triangulator student. 01. Ratoi Larisa student. 02 chiatante ida
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One of the main difficulties had been to set joints in order that every component could much perfectly. The sharp point shape proved to be the better solution, even if not the simpler one. According to the number of components joining together and to the shape of each of them the angle of the components should change. The folding also have a weight in the realisation of this geometry as they can customise the angle of the adjacent part. -
The result is a system that prove to work and a deep understanding of the possibilities of aggregation and development of the single component. A complex design -had been achieved with the use of laser cutting and digital softwares. The overall geometry is ready to be improved and completed in further developments. Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital To Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools Digital Tools
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03 . THE TRIANGULATOR
PARA(metric)-FASHION
04 . ATTRACTOR RESPONSIVENESS
student 01. lIDIA RATOJ The process of realisation of the Attractor Responsiveness didn’t start from a specific concept to realise. The aim was specifically to apply the digital tools acquired during the classes of the workshop. The idea emerged together testing the endless possibilities of the digital process and realising how much they were able to affect and totally change the physical model. The study started applying different elements to a simple surface. The fist step was to apply a square grid of seven by seven. Successively the research continue realising a pyramid with the base fitting the unity of the grid and to deform it. Once reproduced the 3d elements for all the components of the grid some primitives as attractors, points, curves and surfaces. The variations are tested even in the z axis transforming the height of the components that has been later sectioned with different objects such as deformed spheres or other pyramids. The aim had been at this stage to strategically place the attractors so that the modules will flow along the human body. But the lack of this strategy is the excessive concentration of attractors and the weight of the flow. The result was chaotic. So the attempt became to create with the attractors a visible effect from the top view. ‘’I consider that the challenge of the workshop was not to get carried with the attractor flow as this enhance the deformation from all the perspectives. We were warned about the danger of not being able to decide on a form because all the possibilities, are so easy to generate digitally. In my opinion, it is hard to keep the things relatively simply when it’s so hard to complicate them.’’
PARA(metric)-FASHION
04 . ATTRACTOR RESPONSIVENESS
PARA(metric)-FASHION
SEE YOU TO THE NEXT PARA(metric)- Workshop . . . .
VahId EshraghI _ ArIan HakImI Nejad _ MICHELA MUSTO PARA(metric)-FASHION