Depthwire epub opiumblue v1 3

Dfab David Hall // Digital Fabrication lab // Hongik

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Contents

001/00A Introduction - Bits arrange atoms 001/00B Brief - New Process New Forms 001/00C Output - Low and Hi resolution Process 001/001 David Hall - Generative Plates 001/002 Hayoun Lee and David Hall - Audio Surface 001/003 Hyeonyeong Park - Organic Surface 001/004 Daghan Kirisci - Generative Spiral 001/005 Hyunkyung Park - L-System 001/006 Sungyun Hwang - Aquatic Form 001/007 Seunghyun Lee - Multiple Tiled Surface 001/008 Jinyoung Choi - Closed Surface 001/009 Victor Pedraza - Voronoi Tessellated Surface 001/010 MG Lee - Mirrored Forms 001/011 Myungki Yun - Voronoi Tessellated Forms 001/00D Contributors

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Published by - opiumbluepublishing 2013 Book Designer - David Hall Cover Design - David Hall Additional Designers - Hayoun Lee Photographs - David Hall - Yuri Endo - Heesoo Moon All participants part of Hongik University - Seoul - South Korea and IDAS Hongik - Seoul - South Korea www.opiumblue.com info - digitalopium@gmail.com ISBN: 9788996302810 93610

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Introduction Bits arrange atoms

Since the advent and proliferation of the PC some 25 years or so ago, there have been many computer related revolutions. Milestones have included interconnectivity and the web, CPU speed increases on tack with Moore’s prescient law, micronisation of the hardware itself and the much lauded social network revolutions which seem to dominate media activity today.

During the dot com surge a decade ago it was the concept of “bits to sell atoms” which became the byword of amazon.com and many of the other start-ups. Indeed that business model has become embedded as a staple of modern commerce.

So what is on the horizon for commerce, connectivity and manufacturing? Well the idea that “Bits arrange atoms” could be the new frontier. Often students wonder why contemporary architecture and design schools seem to be overly concerned with using the computer as a primary tool and why the aesthetic of much of the output appears to be so organic and alien. Well for me the answer would be that people are experimenting with new forms for new processes. If you print or grow a building then a linear approach simply put would not really be using the technology to its advantage.

This is where the concept of stereo lithography, rapid prototyping, 3D printing comes in. The standard manufacturing model will morph just like the commercial model of amazon.com etal did a decade ago.

These new frontiers may not just be aesthetic changes. The idea that bits can arrange atoms can and has already been applied to medical treatments, food printing and many other disparate areas and I am sure we have not seen 90% of the possibilities yet.

It would be perfectly foreseeable to see large structures using the printing technique, also the idea that you download data then print your new piece of electronics with your home or local communal based printer would see an end to the standard manufacturing and distribution paradigms that we are so comfortable with now.

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Brief New Process New Forms

Space and Digital Fabrication (One) Strategies and concepts for new synthetic forms and digital output.

Three - Organic Structure and Hi resolution Rapid Prototyping

Course Description This course will be in three sections every semester.

Generation, Process and output. Each semester will lead to progressively more complex and refined approaches to fabrication and construction. The objective is to teach students the theory, production techniques and process of digital form and fabrication in a variety of media and disciplines.

Preface Computational space and the new frontier. The reason why aesthetically design has and will change so much is that from now on much of design exploration will not be shackled by 20th century construction and manufacturing techniques and process. A great deal of contemporary architecture and design schools have a digital lab specifically to explore the now aesthetic and visual horizons that rapid prototyping is opening up. As soon RP machines will probably be embedded in each home or office, it is easy to envisage a consumer environment where you would download and print your mobile phone for example. This would mean an end to the retail environment as we now know it. But the real question is “as designers what will this new future look like with all its complexity and flexibility. This is what we will explore here.

Part one of every semester will deal with “Theory and development”. This will include digital topology and surfacing techniques using meshing tools of various types.

Part Two Digital process and construction techniques.

Part Three will focus on the physical process of digital output in three specific forms.

One - research Strategies for visual form development Preface Developing your own personal visual style has always been a goal of masters degree art students. One of the traditional undergraduate techniques of achieving this is to study other artists, designers and contemporary/historical movements. For postgraduate students however we must employ a more diverse and sophisticated strategy. So in effect you need to choose and define an area within which you can research and explore. And by research and explore I mean, drawing, reading and photographing the subject, NOT just downloading images. Areas and subjects that could be useful ( I am NOT saying you need to use any of these, you should choose your own ) could be “science and biology structure”, “natural forms and systems”, generative and algorithmic dynamics”, “fluid mechanics”, etc.

By research I mean, if you find or take photographs of a given subject you need to be able to analyse the images to define what you are interested in.

Stage One - Part A - “Define” Please choose an area or group subject title that you will read and research.

This initial stage should be uploaded to your blog. Just uploading a downloaded image is unacceptable. I expect to see written analysis.

Stage One - Part B - “Explore” Here you will develop your theme by photographing, drawing and written analysis.

Section Three - Part A - “Form Finding V1.2” This is the longest part of the semester ( I estimate about 7 weeks ). Here as the resolution and build width of the printer is very fine you can explore the potential of the machine through complexity on achievable by computer and printer.

Section Three - Part B - “Printing Mechanics” I will go through the process of making forms and models “print ready”. This means looking at construction topology and closed meshes.

There are a number of ways of technically achieving this, I will detail step by step the methodology and programs we need to utilize.

Exhibition and Photographic documentation.

If all goes well I would like to org anise a small show showing the process from low resolution to hi res prints. We will also need to do professional photography documenting the whole process and results.

NOTES Morphic Strategies Green Growth lab Dave Hall / Roger Pitiot Bio_ Zoo_ Ana_ Data_ _____ Morphic

Preface There are quantum changes taking place in the fields of manufacturing, Construction, Design, Architecture and the use of integrated computing as a driving force of these paradigm shifts. The seeds of these changes can be seen in embryonic form today in Stage One - Part C - “Consolidated” the form of the With the preliminary work done it’s time to specify your research are practically, by generative and procedural approach to design and this I mean “how can this subject be conceptualized in order to use it for further devel- architecture as well as new forms of realization such as rapid prototyping and digital opment with respect to three dimensional output. fabrication.

The visual form, nature and aesthetic of these new Two - Digital form finding and low resolution Printing approaches are experiments in trying to define the new aesthetics for these new territories.

Preface Digital output in the form of 3D printing has been the Areas of Research driving force behind many of the recent design Generative and Procedural computing explorations of the past decade. The dream of direct computer controlled construcAesthetic development for new frontiers tion is finally here. At last we are free of the development to manual construction Digital Fabrication and construction paradigm. The implications of this revolution for artists and designers could not be Natural systems and integration more profound. Its a revolution on the scale of the development of the internet or computing itself.

Projects and Measurable Objectives Conference Presentation and attendance This is the profound liberation we all talked about for a few decades, now its here its Exhibition time to get with the Publication program so to speak.

As with all revolutions (think photography then film) understanding the basic principles can help with your future understanding of the process. As such we will start with low resolution laser cutting. This is in effect the fundamentals of digital fabrication. using laser cutting practice can be incredibly useful for all artists and designers no matter what the project they are working on.

Section Two - Part A - “Meshes and Form Finding” Here we will explore basic form development inside your chosen 3D application, this does not need to be specific, it could be Maya, 3DS, or Cinema 4D its upto you.

We will use the tried and tested distortion select method.

Section Two - Part B - “Slicing Mechanics” Once we have the selected model now we will begin the process of getting it ready for print. As this is a laser cut we will use either a straight slice method or an intersection method. This will depend on your model.

Section Two - Part C - “Printing, Cutting and Assembly” This is the final stage of this section. Once we have printed we will assemble.

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David Hall “X_system”2006

David Hall “Meme Structure”2011

David Hall “Meme Structure”2011

David Hall “Body Home”2009

file -f -new; // ./untitled // commandPort -securityWarning -name commandportDefault; pv_performAction “C:/Users/OPIUM/Desktop/OPIUM_SYNTHEYES_DEMOS/Opium_headress_track/scenes/park_ displace.mb” “Best Guess”; file -f -options “v=0” -typ “mayaBinary” -o “C:/Users/OPIUM/Desktop/OPIUM_SYNTHEYES_DEMOS/Opium_ headress_track/scenes/park_displace.mb”;addRecentFile(“C:/Users/OPIUM/Desktop/OPIUM_SYNTHEYES_ DEMOS/Opium_headress_track/scenes/park_displace.mb”, “mayaBinary”); // File read in 6 seconds. // 1 // createModelPanelMenu modelPanel1; createModelPanelMenu modelPanel2; createModelPanelMenu modelPanel3; createModelPanelMenu modelPanel4; buildPanelPopupMenu renderView; buildPanelPopupMenu scriptEditorPanel1; HfResetFur; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; layerEditorDisplayLayerManagerChange; layerEditorDisplayLayerChange; layerEditorRenderLayerManagerChange; layerEditorRenderLayerChange; setMinMaxPlayback MayaWindow|mayaMainWindowForm|formLayout4|formLayout18|formLayout19|formLayou t46|floatField3 MayaWindow|mayaMainWindowForm|formLayout4|formLayout18|formLayout19|formLayout46 |floatField4; floatField -edit -value `currentTime -query` MayaWindow|mayaMainWindowForm|TimeSliderForm|formLay out16|formLayout17|formLayout45|floatField1; // Result: MayaWindow|mayaMainWindowForm|TimeSliderForm|formLayout16|formLayout17|formLayout45|f loatField1 // layerEditorOpenScene; selectionMaskResetAll; rendererSceneOpenedCallback; autoUpdateAttrEd; statusLineUpdateInputField; HfResetScriptJobs; editMenuUpdate MayaWindow|mainEditMenu; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; iconTextCheckBox -e -v `selectPref -q -xformNoSelect` lockSelectionIcon; // Result: lockSelectionIcon // updateHighlightSelectIcon; createModelPanelMenu modelPanel1; createModelPanelMenu modelPanel2; createModelPanelMenu modelPanel3; createModelPanelMenu modelPanel4; buildPanelPopupMenu renderView; playbackOptions -min 1 -max 24 -ast 1 -aet 48; // 1 // renameTextureViewPanel; animationEditorFileCallback; optionVar -exists dynPrefRunupToCurrentTime; // 1 // optionVar -q dynPrefRunupToCurrentTime; // 0 // buildDefaultSceneUI; initHyperGraphPanel hyperGraphPanel1; initHyperShadePanel hyperShadePanel1; initVisorPanel visorPanel1; initMultiListerPanel multiListerPanel1; initRelationshipPanel relationshipPanel1; initComponentEditorPanel componentEditorPanel1; dynPaintInitCallback dynPaintScriptedPanel; initRelationshipPanel relationshipPanel1; unlocalizedPanelLabel “Persp View”; // Persp View // unlocalizedPanelLabel “Persp View”; // Persp View // HfOpenSceneCallback 1; ls -type FurDescription; HfChangeDynamicAttr; proxyRefreshUI; // 1 // // Error: mpBirailSrf2 (Mp Birail Srf Node): birail surface computation failed // // Warning: trim1 (Trim Node): Trim: A surface must be selected. // // Error: mpBirailSrf2 (Mp Birail Srf Node): birail surface computation failed // // Error: attachCurve1 (Attach Curve Node): cannot attach a 3d curve to a curve on surface. // // Error: attachCurve1 (Attach Curve Node): cannot attach a 3d curve to a curve on surface. // // Warning: detachCurve1 (Detach Curve Node): invalid input curve. // findNewCurrentModelView; // 1 // findNewCurrentModelView; // 1 // changeToolIcon; HfResetFur; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; layerEditorDisplayLayerManagerChange; layerEditorDisplayLayerChange; layerEditorRenderLayerManagerChange; updateRenderViewForRenderLayerChange renderView; layerEditorRenderLayerChange; updateRenderViewCurrentRenderLayerLabel renderView; setMinMaxPlayback MayaWindow|mayaMainWindowForm|formLayout4|formLayout18|formLayout19|formLayou t46|floatField3 MayaWindow|mayaMainWindowForm|formLayout4|formLayout18|formLayout19|formLayout46 |floatField4; floatField -edit -value `currentTime -query` MayaWindow|mayaMainWindowForm|TimeSliderForm|formLay out16|formLayout17|formLayout45|floatField1; // MayaWindow|mayaMainWindowForm|TimeSliderForm|formLayout16|formLayout17|formLayout45|floatFie ld1 // floatField -e -v `playbackOptions -q -ast` MayaWindow|mayaMainWindowForm|formLayout4|formLayout18 |formLayout19|formLayout46|floatField2; floatField -e -v `playbackOptions -q -aet` MayaWindow|maya MainWindowForm|formLayout4|formLayout18|formLayout19|formLayout46|floatField5; // MayaWindow|mayaMainWindowForm|formLayout4|formLayout18|formLayout19|formLayout46|floatField5 // layerEditorOpenScene; selectionMaskResetAll; rendererSceneOpenedCallback; autoUpdateAttrEd; statusLineUpdateInputField; HfResetScriptJobs; editMenuUpdate MayaWindow|mainEditMenu; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; HfDeleteExtraFurGlobals; iconTextCheckBox -e -v `selectPref -q -xformNoSelect` lockSelectionIcon; // lockSelectionIcon // updateHighlightSelectIcon; ScriptEditor; if (`scriptedPanel -q -exists scriptEditorPanel1`) { scriptedPanel -ecreateModelPanelMenu modelPanel1; createModelPanelMenu modelPanel2; createModelPanelMenu modelPanel3; createModelPanelMenu modelPanel4; buildPanelPopupMenu renderView; playbackOptions -min 1 -max 24 -ast 1 -aet 48; // 1 // renameText createModelPanelMenu modelPanel1; createModelPanelMenu modelPanel2; createModelPanelMenu modelPanel3; createModelPanelMenu modelPanel4; buildPanelPopupMenu renderView; playbackOptions -min 1 -max 24 -ast 1 -aet 48; // 1 // renameText-to scriptEditorPanel1; showWindow scriptEditorPanel1Window; selectCurrentExecuterControl; }else { CommandWindow; }; addScriptEditorPanel scriptEditorPanel1;

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//miContourDepthCtrl//

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string $selVictim[]; string $selIntruder = `button -q -l intruderButton`; string $intruderShape[] = `listRelatives -shapes $selIntruder`; string $selAll[] = `ls -exactType “transform”`; string $curentSHD[] = `listConnections -d 1 -source 0 -p 0 -type “shadingEngine” $intruderShape[0]`;

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Output Low and Hi resolution Process

As with many forms of output such as standard two dimensional printing for example which moved from black and white to full four colour separation techniques the principles of three dimensional printing can also be approach on a higher or lower resolution basis. The principles remaining the same.

This is how it is with laser cutting which is essentially a lower resolution 3D printing process.

Each person in the lab started by making simple forms usually generated from profile animated along a spine curve.

This was then sliced and the resulting curves arranged on a single plane. After that each slice was then physically lined up to recreate the virtual form or animation. So in this basic module people had to understand and experiment with the concepts of curves, animation, space and how to re assemble the physical version.

This methodology not only primes people to the principles of three dimensional digital output on a simple low resolution model but also starts the process of understanding how forms, surface and structures can be derived from strategies not normally used in the construction of physical forms. Traditionally students sketch their desired form or object, scan the drawing and use a modelling technique analogous to standard workshop practices.

Once students begin to understand this it should be possible for the to have a broader understanding of form finding and use a wider set of tools and concepts for the next stage of higher resolution printing.

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David Hall Generative Plates

데이빗 홀

001/01 014

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Page Left ABS 3D Print 18cmx16cm Page Right ABS 3D Print 18cmx16cm

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David Hall Hayoun Lee Audio Surface

데이빗 홀 이하연

001/02 018

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Page Left Signal to curve Signal to curve Page Right Nurbs to poly Surface

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Page Left Signal to Curve Laser Cut 30cmx30cm Page Right ABS 3D Print 25cmx25cm

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Hyeonyeong Park Organic Surface

박현영

001/03 024

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Page Left Laser cut process Page Right Laser cut object - acrylic 30cmx25cm

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Page Left Laser cut process Page Right Laser cut object - acrylic 30cmx25cm

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Daghan Kirisci Generative Spiral

다한

001/04 030

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Page Left Form finding process Page Right ABS print 25cmx25cm

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Hyunkyung Park L-System

박현경

001/05 034

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Page Left Laser cut process Page Right Laser cut object - acrylic 30cmx25cm

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Sungyun Hwang Aquatic Form

황성연

001/06 038

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Page Left Laser cut process Page Right ABS print 15cmx15cm

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Seunghyun Lee Multiple Tiled Surface

이승현

001/07 042

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Page Left Laser cut process Page Right Laser cut object - acrylic 30cmx25cm

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Jinyoung Choi Closed Surface

최진영

001/08 Victor Pedraza Voronoi Tessellated Surface

빅터

001/09 046

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MG Lee Mirrored Forms

이명근

001/10 MyungkiYun Voronoi Tessellated Forms

윤명기

001/11 048

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Contributors

Director David Hall

Lab Researchers Hayoun Lee Myungki Yun MG Lee

Lab Participants Jinyoung Choi Joonkyung Kwon Seunghyun Lee Hyunkyung Park Harin Lee Victor Pedraza Benjamin Berger Sungyun Hwang Hyeonyeong Park Daghan Kirisci Kittipong Buranakulpairoj

Attr

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Published by - opiumbluepublishing 2013 www.opiumblue.com info - digitalopium@gmail.com ISBN: 9788996302810 93610

CNTRL 0040-5