StudioAirJournal by Peiyi Wang

STUDIO AIR 2016, SEMESTER 2, CAITLYN PARRY PEIYI WANG

CONCEPTUALISATION 1

INTRODUCTION PART A_CONCEPTUALISATION A.1. DESIGN FUTURING 07 A.2. DESIGN COMPUTATION 12 A.3. COMPOSITION/GENERATION 18 A.4. CONCLUSION 24 A.5. LEARNING OUTCOMES 25

A.6. APPENDIX - ALGORITHMIC SKETCHES

A.7. APPENDIX - BIBLIOGRAPHY 31

PART B_CRITERIA DESIGN

B.1. RESEARCH FIELD

B.2. CASE STUDY 1.0 37 B.3. CASE STUDY 2.0 46 B.4. TECHNIQUE: DEVELOPMENT 58 B.5. TECHNIQUE: PROTOTYPES 82 B.6. TECHNIQUE: PROPOSAL 107

B.7. LEARNING OBJECTIVES AND OUTCOMES

112

B.8. APPENDIX - ALGORITHMIC SKETCHES

114

B.9. APPENDIX - BIBLIOGRAPHY 117

PART C_DETAILED DESIGN C.1. DESIGN CONCEPT 119

C.2. TECTONIC ELEMENTS & PROTOTYPES

119

C.3. FINAL DETAIL MODEL 180

C.4. LEARNING OBJECTIVE AND OUTCOMES

227

INTRODUCTION: My name is Peiyi Wang from Xiâ&#x20AC;&#x2122;an, China. I decided to study architecture because of my strong interests to painting and design since a young age. After studying in the University of Melbourne, I began to realize that architecture is really multidisciplinary. It is both an art and science, and requires the participation and collaboration to function. My experience to digital design is little, and they mostly remain on theories from books and news. Through the introduction of shell structure formed by parametric modelling in Construction Analysis, I was attracted by the idea behind and the efficiency of the process. The importance of technology for designing is self-evident especially in nowadays society. Therefore, I hope I can increase my knowledges and skills about computation in architecture from the studying in Studio Air. The special interest for my architectural design is the experience of people. The design process is always starting from the analysis to expecting and imaging how to change their feeling within the structure. Some experience can create more comforts and facilitate life, while others may try to express different sensation. For me architecture seems to be a language for designer to communicate with others.

CONCEPTUALISATION

A.1. DESIGN FUTURING “…it becomes a pathfinding means to sustain action countering the unsustainable while also creating far more viable futures…In doing this, the aim is to contribute to building a new design intelligence.”1

Under the pressure of global population growth and endless technological development, the ecological status quo of nowadays society is alarming. Design as a way of facilitating the manipulation to nature, has been paid with excessive attention to satisfying human needs from the past to the present. Therefore, changes on design need to be made systematically to alter the current defuturing and unsustainable condition.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice. (Oxford: Berg, 2009), p. 3

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CASE STUDY 1: HIGH LINE NEW YORK NEW YORK, 2009

James Corner Field Operations & Diller Scofidio + Renfro

High Line in New York City is a successful example of integrating

design and ecology to achieve sustainability. In this project, city is considered as a metasystem rather than merely a place for living. Metasystem is formed and functioned by a set of subordinate systems working cohesively with each other1, which indicates that interaction is inevitable. And it is the connection enabled this design. Unlike natural ecology, which has flows of vegetation, animal and resources, urban ecology requires more complex components in order to function effectively, for example, human, waste and information 2. What provides the opportunity to the interaction among these components in a city is the infrastructure network. By changing the existing West Side industry railway into public parkland, what penetrates and links the city has been altered dramatically. The former railway, which cruelly cuts the urban ecology using cold mechanical pieces, stands for industrialization and points towards unsustainability. While in comparison, High Line, that is natural, not only interweaves ecological system with existing city fabrics (Figure. 1), but also adds emotional contact into high speed modern life in New York. As a result, from both the environmental and social perspective, High Line assists on sustainable development, especially in nowadays society, where the ecological condition is alarming, where is full of telecommunication and advanced technology, and where ‘millions tiny utopias each dreamt up by a single person’3 exists. Moreover, utilizing the existing sources rather than demolishing and constructing in another piece of land reduces the amount of energy and resources consumed in the project. It also becomes the positive accelerator to regional development around the original railway line, which is so diverse that evokes the potential in the future 4 . As a result, design approach like High Line starts to be adopted and recommended widely, and it is considered as a turning point of city infrastructure design towards the interaction of metasystem 5. 1 Wolf Mangelsdorf, ‘Metasystems of Urban Flow: Buro Happold’s Collaborations in the Generation of New Urban Ecologies.’ Architectural Design, 4, 83 (2013), 94-99 (p. 95). 2 Mangelsdorf, 83, (p. 95). 3 Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 8. 4 Mangelsdorf, 83, (p. 96). 5 Mangelsdorf, 83, (p. 96).

CONCEPTUALISATION

FIG.1: NEW YORK HIGH LINE, KAREN CILENTO, THE NEW YORK HIGH LINE OFFICIALLY OPEN, ARCHDAILY, 9 JULY, 2009, <HTTP://WWW.ARCHDAILY.COM/24362/ THE-NEW-YORK-HIGH-LINE-OFFICIALLY-OPEN/1121250496_DSR-HIGHLINE-09-06-5054> [ACCESSED 2 AUGUST, 2016].

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CASE STUDY 2: SPANISH PAVILION EXPO 2010, SHANGHAI

EMBT(Enric Miralles & Benedetta Taglibue), MC2 Structural Engineers

In Spanish Pavilion for Expo 2010, challenging the past design

approach and proposing for more responsible paradigm is realized through applying textile weaving techniques to architecture. The building has an unusual appearance that is full of curvatures and demands unconventional techniques for construction1(Figure. 3). Similarly to the challenge when implementing curve form to Sydney Opera House, the shape of Spanish Pavilion requires large amount of consideration from the structural perspective and expects the cooperation between architects and engineers. It creates a new possibility to what architectural design could be developed into in the future, that is through weaving. This solution is support by the theory that textile has the characteristics of behaving as a unity. It is suggested that if every individual element bears the load as a whole, the structural stability could be improved 2. Therefore, all components need collaborate together to achieve the effect and respond to the load effectively in this building. Besides the collaboration of people from different discipline for problem-solving, computation is involved in the design process as well and functions as an one of the most important determinants of the project. Computation assists to simplify the complex form into series of repetitive horizontal/vertical planes 3 (Figure. 2). These simple and modular elements under computation further enable the optimization by controlling several parameters 4 . Through optimization, the structural and environmental performance will tend to be maximized, and it can also eliminate the redundant structure or material. As technology develops rapidly, we are now already entering into a new era of digital design. Architecture can become impractical if it is purely relied on creating virtual image by digital modelling, how to materialize it is a big issue 5. Spanish Pavilion provide us with one possible solution to the creation of free form structure using textile principle and optimization, which might be considered the path towards sustainable future. 1 Julio Martínez Calzón & Carlos Castañón Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80 (2010), 52-59, (p. 55). 2 Yves Weinand & Markus Hudert, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). 3 Calzón & Jiménez, 80, (p, 59). 4 Weinand & Hudert, 80, (p.104). 5 Weinand & Hudert, 80, (p.107).

CONCEPTUALISATION

FIG.2(ABOVE), 3: SPANISH PAVILION, EXPO 2010 VLADIMIR BELOGOLOVSKY, INTERVIEW WITH BENEDETTA TAGLIABUE: LOOKING AT BUILDINGS AS IF THEY WERE DECOMPOSING AND BECOMING NEW SKETCHES, ARCHDAILY, 10 NOVEMBER, 2015, <HTTP://WWW.ARCHDAILY.COM/776892/INTERVIEW-WITH-BENEDETTA-TAGLIABUE-LOOKING-AT-BUILDINGS-AS-IF-THEY-WERE-DECOMPOSING-AND-BECOMING-NEW-SKETCHES/56414CCFE58ECE DC5D000054-INTERVIEW-WITH-BENEDETTA-TAGLIABUE-LOOKING-AT-BUILDINGS-AS-IF-THEY-WERE-DECOMPOSING-AND-BECOMING-NEW-SKETCHES-PHOTO> [ACCESSED 2 AUGUST, 2016]. CONCEPTUALISATION 11

CONCEPTUALISATION

A.2. DESIGN COMPUTATION Over the long period of history, from the primary craftsmanship of construction before Renaissance to architecture as a discipline aided by scale drawings and models, evolution on architecture never ends1. Nowadays, technology development seems to push architecture design into another phase, that is the digital era, which helps to create bold and innovative design efficiently. In comparison with the overall progression of architecture, digital technology in building industry is under a more rapid changing process. One of the most significant shift might be the upgrade from computerization to computation. Computerization is the digital approach used just for representational purpose, which is very restricted 2. As for computation, it represents the participation of computer into the design process, as a medium for design instead of just drawing equipments 3. It also achieved the idea of a digital continuum, that computation can be actively engaged with multiple phases of architectural design, from the form finding, performance examination and even to fabrication 4, which significantly boosts the efficiency of design process. Moreover, as a resultant architectural style enabled by design computation, parametricism has become increasing popular, especially for large-scale project. It might be regarded as an continuation from the work created from 1960s to 1970s by architects such as Antoni Gaudí and Félix Candela 5, and will still be developed continuously to keep up with the technological development. One possible reason for its popularity and potential is that while improving the efficiency, it also ensures the consistency of work flow. Through sharing computational platform with softwares, algorithms and storage, parametricism has created a more coherent cooperation opportunity for multiple sectors in the building industry6 .

1 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT press, 2004), p.7-9 2 Bradley Elias, Design Computation, Architecture Design Studio: Air, Redmond Barry Latham Theater, Melbourne, 2 August, 2016, Lecture 3 Elias, Design Computation. 4 Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 5 Shajay Bhooshan, ‘Upgrading Computational Design’, Architecture Design, 2. 86 (2016), 44-53. (p. 47) 6 Bhooshan, 86. (p. 47) CONCEPTUALISATION 13

FIG 5: SILVERSTONE FORMULA 1 TRACK, NORTHAMPTONSHIRE, POPULOUS DAVID HINES, ‘INTEROPERABILITY IN SPORTS DESIGN’, ARCHITECTURAL DESIGN, 2, 83 (2013), 70-73, (P. 72)

FIG 4: AVIVA STADIUM, DUBLIN SEBASTIAN JORDANA, AVIVA STADIUM OPENED FRIDAY IN DUBLIN, ARCHDAILY, 16 MAY, 2010, <HTTP://WWW.ARCHDAILY.COM/60213/ AVIVA-STADIUM-OPENS-TODAY-IN-DUBLIN/AVIVA-STADIUM-AT-LANSDOWNE-ROAD-DUBLIN> [ACCESSED 9 AUGUST, 2016].

CONCEPTUALISATION

CASE STUDY 1: AVIVA STADIUM DUBLIN, IRELAND, 2010 POPULOUS ARCHITECTS

Aviva Stadium is designed with the concept derived from the detailing of Swiss

watch that is the fineness of each individual components and the relationships among them1. Intentionally or unintentionally, the key to the design and construction process of Aviva Stadium could also be seen as to sustain relationship between different parties, and this sense of cooperation is accomplished by computation design. It is worthy to notice that Populous has created an extremely complex structure composed by significant amount of material and individual pieces 2, which requires high level of consistency among each departmentâ&#x20AC;&#x2122;s communication throughout the whole design process. Communication in design can be defined as an action to transfer information among different parties via an appropriate agency throughout the whole design process 3 . The medium to deliver information is developed specially in this project. A shared model environment is created with the assistance of parametric design, which allows engineers and architects to start from same point and work on a common platform 4 . This environment might be seen as a successful implementation to reduce the ceaseless modification after drawings been reviewed by different parties, as a result, cohesiveness and efficiency are largely increased. Moreover, this parametric model is further connected with BIM and in the end to fabrication, which enables testing and the design continuum even in construction or fabrication process 5. Hence, the whole practice is redefined by computation into a well organized and more accurate manner. BIM is also applied to the design process of the stadium body. It helps to turn a simple geometric form into an adaptable model under series of parameters 6 . By conducting the form finding process in this manner, the solution can be optimized and at the same time satisfy all the goals or constraints predefined at the beginning. Examination to the performance of a structure could also be realized by design computation7, and this is applicable for the work done by Populous, who has series performance-oriented design conducted. For example, parametric modelling provides the opportunity to optimize the Silverstone Formula 1 track (Figure. 5), which generates an outcome that suits the driver best in terms of racing and facilitates on the viewing of spectator8 . In this way, the experience within the architecture could also be optimised just like what conducted to structure.

1 David Hines, â&#x20AC;&#x2DC;Interoperability in Sports Designâ&#x20AC;&#x2122;, Architectural Design, 2, 83 (2013), 70-73, (p. 71) 2 Hines, 83, (p. 71) 3 Kalay, p. 13 4 Hines, 83, (p. 71) 5 Hines, 83, (p. 71) 6 Hines, 83, (p. 71) 7 Oxman & Oxman, p. 4. 8 Hines, 83, (p. 73) CONCEPTUALISATION 15

FIG. 7: DETAILS FOR FOUNDATION LOUIS VUITTON, FRANCE MUSEUM FONDATION LOUIS VUITTON, PINTEREST, <HTTPS:// NZ.PINTEREST.COM/PIN/330029478924307747> [ACCESSED 11 AUGUST, 2016].

FIG. 8: FOUNDATION LOUIS VUITTON, FRANCE FONDATION LOUIS VUITTON / GEHRY PARTNERS, ARCHDAILY, 13 OCTOBER, 2014, <HTTP://WWW.ARCHDAILY.COM/555694/FONDATION-LOUIS-VUITTON-GEHRY-PARTNERS> [ACCESSED 9 AUGUST, 2016].

CONCEPTUALISATION

CASE STUDY 2: FOUNDATION LOUIS VUITTON PARIS, FRANCE, 2005-2014 GEHRY PARTNERS

Similarly to many contemporary architecture, Foundation Louis Vuitton has a nonEuclidean form(Figure. 8), which leads to the complexity in terms of geometry and organization. In order to realize the design concept, these two types of complexity need to be solved, and this is achieved by design computation.

Firstly, material optimization was conducted as an proposal to deal with the geometric complexity. It is demonstrated that designing material has already become an inevitable section of digital design in architecture1. Under this circumstance, the material system in this architecture, as customized glass and concrete, was modelled and altered to best suit the requirement of overall design concept parametrically. For instance, mould was specially configured under several fabrication and geometrical parameters, and this could turn the bending glass sheets into an ideal forms, which later can be connected with each other to achieve the expected global design effect 2. However, on the contrary of adjusting the material digitally based on the requirement of certain built form, Gehry Partners also tried to reduce geometric complexity via detail control(Figure. 7). Unlike the conventional thinking of developing construction corresponding to its design principle 3, detailing is an reverse method, which requires geometric form to adjust according to the details. It is suggested that detail is the focal point between the relationship of design form and fabrication in noneuclidean form 4 . As a result, by letting appropriated detailing participates into the design process of form rather than applying at the end, the overall design concept could be delivered to realized to the most extend. Moreover, detailing is achieved using similar method as in Aviva Stadium, that is a shared digital platform for architects and engineers to work on different aspects of details simultaneously5. This type of platform is also involved to deal with the organizational complexity. Due to the scale of this project, it is impossible to let components be fabricated at the same location. This inevitable issue is not ideal for maintaining the consistency and quality of production. What was proposed for it is a way to link all fabrication and manufacturing places into an integrated system through computation 6, as all individual parties participated into the process were authorized to access and perform on the same modelling platform. This could establish certain level of precision that can maximize the construction quality and simply the organization process. 1 Oxman & Oxman, p. 5. 2 Tobias Nolte & Andrew Witt, ‘Gehry Partners’ Foundation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 1, 84 (2014), 82-89, (p. 83) 3 Dennis R. Shelden, ‘Information, Complexity and the Detail’, Architectural Design, 4, 84 (2014), 92-97, (p. 96). 4 Shelden, 84, (p. 96) 5 Nolte & Witt, 84, (p. 86-87) 6 Nolte & Witt, 84, (p. 88) CONCEPTUALISATION 17

CONCEPTUALISATION

A.3. COMPOSITION/GENERATION As the participation of digital tools into the design process increases following the technological development, design starts to show a tendency of transferring focus from composition to generation1. Composition represents the way to create art form based on the arrangement of components, which is usually related to one’s aesthetic appreciation or formal principles. This approach has already been practiced for a long period since the ancient civilization, however, computation enables an alternative to initiate a design form that is generation. Design generation is a way to create form in design by mimicking the way how life is emerged in nature 2. The reason why nature is always a great source for problemsolving in human society is probably due to both its incomparable beauty and essence after long-time evolution, such as versatility and efficiency3. Therefore, it is believed that the way natural existence is appeared and refined represents an ideal process for any types of creation, which includes design. Generative design seems always to be associated with computation. It starts from a set of goals or restraints predefined in software. Algorithm, as a method to transform input through mathematical and consistent operation into output 4, will then facilitate the generation of infinite amount of solutions. These possible solutions will be assessed through series of simulation in order to find the best suite one or in another word, be optimized. Unlike what happened with computerization that simulation is only processed for the purpose of representation and construction, computation permits the simulation of building performance from multiple perspective 5. In this case, the final outcome from the assessing will not only satisfy all goals and restraints preset in design period, but also perform well in reality. There are two concept from biology related with evolution, Darwin machine and Bernard machine, which might be comparable to generation process. Darwin machine demonstrates the theory that each individual shows a slight extent of variation on gene about the way for living, and the good genetic manifestation may exist and be developed further to the next generation 6 . It could be argued that the idea of emerging infinite possible solutions through algorithm in generative design reflects part of Darwin machine. The predefined goal and restraints might be assimilated to the requisite for living, and the way to generate different solution is echoing to genetic differentiation. As for the Barnard machine, it serves as a reference for optimization phase in design generation. Instead of providing an attitude that the natural selection is about fortune, Barnard machine proposes that homeostasis is the key for living, which implies that the selection is conducted based on adaptability7. Similarly, simulation could be interpreted as a way to find the most adaptable solution for a design in reality. 1 Bradley Elias, Composition/Generation, Architecture Design Studio: Air, Redmond Barry Latham Theater, Melbourne, 9 August, 2016, Lecture 2 Elias, Composition/Generation. 3 J Scott Turner, ‘Evolutionary Architecture? Some Perspective from Biological Design’, Architecture Design, 2, 82 (2013), 28-33, (p.30) 4 Eric Dietrich, ‘Algorithm’, in The MIT Encyclopedia of the Cognitive Science, ed. by Robert A, Wilson & Frank C. Keil (London: MIT Press, 1999), 11-12, (p.11) 5 Brady Peters, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83 (2013), 8-15, (p. 13). 6 Turner, 82, (p. 31) 7 Turner, 82, (p. 32)

CONCEPTUALISATION 19

CASE STUDY 1: BLOOM VICTORIA PARK, LONDON, 2012 Alisa Andrasek & Jose Sanchez

Generation is a method that can facilitate on design process significantly due

to its efficiency and capability, however, this only functions with a premise that understanding to this approach needs to be established at first. Due to the abstraction and involvement of computing technology, to comprehend the underlying principle and rules behind generative design could be a big issue for some individuals, for example, me. In this case, this example designed by Alisa Andrasek and Jose Sanchez is selected because it might be seen as a well-considered proposal to this problem. This design is a representation of generative approach and semi-computational design, with its primary objective to popularize knowledge about ‘rule based system, vector mathematics and structure’ and to showcase the ability of design computation to general public1. Similarly to the construction process, design requires appropriate foundation to begin with, and for Bloom Game, it is redundancy. Andrasek explains it as a concept to symbolize how complex the material system is from both natural and architectural perspective, and to depict the emergence and change 2. And based on my understanding, redundancy here may represent the solution-generation process in design generation. The project starts from the design of basic unit for later repetition. It is embedded with a spiral tendency for accumulation by predefining the relationship among and the condition of three vectors trough algorithmic testing 3 (Figure. 9). Therefore, the redundancy will be proceeded under certain level of control to match the goal, that is the pattern for form generation in this project, or simply an algorithm if the design is all conducted using computation. Following the completion of all computation-related phases, the pavilion will be ready for erection. Instead of generating forms through algorithm, the structure is then finished by general public 4 . In this case, the unexpectable outcome will be equivalent to the infinite amount of possible solutions emerged through computation. Public participation into this ‘game’ might be an opportunity to learn about the concept of computation or at least to have a impression on it. After London, Bloom had also been exhibited in different places across the globe, e.g. 2014 in RMIT (Figure. 10), and the distinct final forms further emphasize on the uncertainty or indeterminacy of generation. Bloom is a very good way to demonstrate the concept of generation, however, without optimization, it can only exists as pavilion. 1 Alisa Andrasek, ‘Indeterminacy and Contingency: The Seroussi Pavilion and Bloom by Alisa Andrasek’, Architecture Design, 3, 85 (2015),106-111. (p. 111) 2 Andrasek, 85 (2015), (p. 108) 3 Andrasek, 85 (2015), (p. 108) 4 Andrasek, 85 (2015), (p. 108) 20

CONCEPTUALISATION

FIG.10: BLOOM, RMIT FIG.9: BLOOM COMPUTATION PROCESS JOMASAM, THE COMPUTATION OF BLOOM, VIMEO, 2012, <HTTPS:// VIMEO.COM/47416308> [ACCESSED 10 AUGUST, 2016].

BLOOM: ALISA ANDRASEK 10 NOVEMBER, 2014, <HTTP://DESIGNHUB.RMIT.EDU.AU/ EXHIBITIONS-PROGRAMS/BLOOM-ALISA-ANDRASEK> [ACCESSED 11 AUGUST, 2016].

FIG.11: BLOOM, LONDON ALISON FURUTO, BLOOM - A CROWD SOURCED GARDEN / ALISA ANDRASEK AND JOSE SANCHEZ, ARCHDAILY, 5 SEPTEMBER, 2012, <HTTP://WWW.ARCHDAILY. COM/269012/BLOOM-A-CROWD-SOURCED-GARDEN-ALISA-ANDRASEK-AND-JOSE-SANCHEZ> [ACCESSED 11 AUGUST, 2016].

CONCEPTUALISATION 21

CASE STUDY 2: AA/ETH PAVILION SCIENCE CITY CAMPUS, ETH ZURICH, 2011

Architectural Association Emergent Technologies and Design Programme(AA EmTech) and Swiss Federal Institute of Technology Zurich(ETH Zurich)

It is suggested that the traditional thinking for design always tends

to let material participate into the final stages of design after form generation, however, this is believed to be very inappropriate by AA EmTech and ETH Zurich1. As a result, a pavilion is created to show the equal importance of form and material in generative design. Generation process of this AA/ETH pavilion starts from the selection of primary input condition. Unlike all the other projects, which the inputs for form generation are aesthetic consideration and constructibility, material properties are included from the very beginning as well. The reason why material needs to be added into the ingredient list is because this follows the natural rule, that the evolution of every organic entity has never been separated into form and material 2. This assumption might be proved using an example that boneâ&#x20AC;&#x2122;s structure and composition is refined and selfadjusted according to both the strain around and the balance between osteoclasts and osteocytes at the inside 3 . Therefore, it is persuasive to argue that the emergence of architectural form should follow the same path since the overall ideal of generation is learnt from nature. In addition, the inclusion of material for solution-generation may also largely increase the efficiency of design process. First of all, when material shifts its position from the limitation to design to a predefined condition 4, it will be integrated with other constrains to emerge the form and then be optimized as a whole. This is a better option than applying the material at the very end, which may lead to modification on structure or material and therefore spending more time and money. For example, in AA/ETH pavilion, plywood sheets are cut, adjusted to a specific length and then bend to form a vault, which is believed as the optimized structure to resist multiple types of force 5. Under this circumstance, the computation file can then be directly sent out for fabrication with out any other procedure in between, and this has largely simplified the construction process 6 .

1 Toni Kotnik & Michael Weinstock, â&#x20AC;&#x2DC;Material, Form and Forceâ&#x20AC;&#x2122;, Architecture Design, 2, 82 (2012), pp. 105-111, (p. 106) 2 Kotnik & Weinstock, 82, (p. 106) 3 Turner, 82, (p. 32) 4 Kotnik & Weinstock, 82, (p. 111) 5 Kotnik & Weinstock, 82, (p. 109) 6 Kotnik & Weinstock, 82, (p. 111)

CONCEPTUALISATION

FIG.12: CUT ON PLYWOOD SHEET

FIG.13: STRUCTURAL ANALYSIS

ALISON FURUTO, PAVILION / EMTECH (AA) + ETH, ARCHDAILY, 10 NOVEMBER,31 MARCH 2012, <HTTP://WWW.ARCHDAILY.COM/221650/ PAVILION-EMTECH-AA-ETH/PAV_14> [ACCESSED 11 AUGUST, 2016].

ALISON FURUTO, PAVILION / EMTECH (AA) + ETH, ARCHDAILY, 10 NOVEMBER,31 MARCH 2012, <HTTP://WWW.ARCHDAILY.COM/221650/PAVILION-EMTECHAA-ETH/STRUCTURAL-ANALYSIS> [ACCESSED 11 AUGUST, 2016].

FIG.14: PAVILION / EMTECH (AA) + ETH ALISON FURUTO, PAVILION / EMTECH (AA) + ETH, ARCHDAILY, 10 NOVEMBER,31 MARCH 2012, <HTTP://WWW.ARCHDAILY.COM/221650/PAVILION-EMTECH-AA-ETH/PAV_02> [ACCESSED 11 AUGUST, 2016].

CONCEPTUALISATION 23

A.4. CONCLUSION Global ecological environment has been threatened significantly by human activities in nowadays society, which leads to an unsustainable future. Facing this problem, changes on design, including architecture industry, are required to be made to act against any unsustainable decision. This common objective and the nonuniform approaches have generated series discourses and attempts, which some can possible create revolutionary changes. Among all the new possibility enabled in this manner, design computation is highly distinguishable. As a way to let computer participate into the design process, design computation has definitely redefined the practice. It not only simplified the design process and replaced human in analytical jobs, work efficiency and cohesiveness in collaboration has also been achieved through digital continuum. With the aid of computation, more impossibles become possible. For example, new alternative that is impossible without digital assistance has been promoted for formfinding, that is generation. Unlike the traditional principle of obtaining form through composition, generation seems to be more rational due to its imitation to nature and optimization to solution generated by algorithm. It is an efficient approach to get the most suitable answer for a design question. Even though there might be demerits existing, the further innovation and development could possibly propose solution and unlock more possibility. From my personal perspective, I am very interested in generative design due to its potential parallel with the nature. The combination natural law and computation represents the integration of truth and efficiency, which seems to be an very logical approach to accelerate the development of human society in a positive and sustainable way. Just like what is comprehended at the very beginning, only sustainable design can ensure the future.

CONCEPTUALISATION

A.5. LEARNING OUTCOME Through the research and reading, Part A. Conceptualization offers an opportunity for me to understand the theoretical background underlying the general concept of design computation. It helps to gain more knowledge about how do digital tools facilitate the design process, what has design computation achieved in different fields and what might be enabled in the future. The three-week learning presents a brand new image of computerrelated design, of which I used to be afraid due to the lack of comprehension. It revolutionizes my apprehension to digital approach from a rigid and purely scientific tool to an interesting and flexible design assistant. As for the practical knowledge about Grasshopper and Rhino taught in studio and online, it is a big challenge and requires long time fro thinking. However, once understood the way how each component/parameter works independently and as a whole, the parametric tools become very useful and convenient for the creation of drawings and models.

CONCEPTUALISATION 25

A.6. APPENDIX - ALGORITHMIC SKETCHES (1)

4 CURVES + LOFTING No. 1: ‘Flag’ No. 4: ‘Contrast and Comparison’; ‘Loop within a Loop‘

CONCEPTUALISATION

‘Toy’ MIRROR + OC-TREE + POINTS ON SPIRALS

‘Circular Topographic Form’, ‘Simulation’, ‘Button’ 2D POINTS + METABALL*4 + EXTRUDE +CAP

CONCEPTUALISATION 27

BASE SURFACE V.S. BOX MORPH (CYLINDER PIPE) + SURFACE BOX Boxes are created with various heights pointing towards the normal direction of the surface

A.6. APPENDIX - ALGORITHMIC SKETCHES (2)

CONCEPTUALISATION

RHINO CLIPPING PLANE CONCEPTUALISATION 29

LOFTING + CULL PATTERN + LISTS +EXTRUSION Pattern created on continuous lofting surfaces, offset the pattern curves, extrude surface based on curves Base surface across 8 individuals ‘Architectural Garment’ ‘Clothing for all’

A.6. APPENDIX - ALGORITHMIC SKETCHES (3)

CONCEPTUALISATION

A.7. BIBLIOGRAPHY Andrasek, Alisa, 2015, ‘Indeterminacy and Contingency: The Seroussi Pavilion and Bloom by Alisa Andrasek’, Architecture Design, 3, 85, 106-111. Bhooshan, Shajay, 2016, Upgrading Computational Design, Architecture Design, 2. 86, 44-53. Calzón, Julio Martínez & Carlos Castañón Jiménez, 2010, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80, 52-59. Dietrich, Eric, 1999, ‘Algorithm’, in The MIT Encyclopedia of the Cognitive Science, ed. by Robert A, Wilson & Frank C. Keil (London: MIT Press), 11-12. Dunne, Anthony & Fiona Raby, 2013, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press). Elias, Bradley, 2016, Design Computation, Architecture Design Studio: Air, Redmond Barry Latham Theater, Melbourne, 2 August, Lecture --, 2016, Composition/Generation, Architecture Design Studio: Air, Redmond Barry Latham Theater, Melbourne, 9 August, Lecture. Fry, Tony, 2009, Design Futuring: Sustainability, Ethics and New Practice. (Oxford: Berg). Hines, David, 2013, ‘Interoperability in Sports Design’, Architectural Design, 2, 83, 70-73. Kalay, Yehuda E., 2004, Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT press). Kotnik, Toni & Michael Weinstock, 2012, ‘Material, Form and Force’, Architecture Design, 2, 82, pp. 105-111. Mangelsdorf, Wolf, 2013, ‘Metasystems of Urban Flow: Buro Happold’s Collaborations in the Generation of New Urban Ecologies.’ Architectural Design, 4, 83, 94-99. Nolte, Tobias & Andrew Witt, 2014, ‘Gehry Partners’ Foundation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 1, 84, 82-89. Oxman, Rivka & Robert Oxman, 2014, Theories of the Digital in Architecture (London; New York: Routledge). Peters, Brady, 2013, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83, 8-15. Shelden, Dennis R., 2014, ‘Information, Complexity and the Detail’, Architectural Design, 4, 84, 9297. Turner, J. Scott, 2013, ‘Evolutionary Architecture? Some Perspective from Biological Design’, Architecture Design, 2, 82, 28-33. Weinand, Yves & Markus Hudert, 2010, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80, 102-107. CONCEPTUALISATION 31

C R I T E R I A D E S I G N .

CRITERIA DESIGN

B.1. RESEARCH FIELD PATTERNING & STRIP/FOLDING

As two distinct and independent research field for digital design, patterning and strips/folding may achieve better performance when functioning together. It can be argued that strips/folding helps created an appropriate structural possibility for a form, while patterning contributes to the ornamentation, which shapes the visual and physical experience. If a description is given to architecture as a combination of art and structure1, patterning will most likely be art, and strip/folding will be used to deal with underlying structural requirement. Due to the increasing geometric complexity in nowadays architectural design enabled by computation, strip/folding helps to simplify the form and facilitate the construction process. Complex geometric form can always be decomposed into basic geometries, which operates well under parametric description 2. By turning an non-Euclidian geometry into series of relatively simple components, for example, the double curvature strip surfaces, ideal form can be realized based on them under the control of several parameters, which usually include material constraints due to the fact that material and form always perform together when bearing the load in nature 3. As a result, strip/folding enables the conversion from design form into elements ready for manufacturing and constructing 4 . This way requires less onsite consideration about the appropriate treatment to material and relies on the precision and quality of fabrication, which could produce both advantages and disadvantages. The efficiency and quality can be ensured through standardization in a controlled environments using machine, however, if any mistake occur during fabrication, it is difficult to modify later.

1 Mark Fornes, ‘The Art of the Prototypical’, Architecture Design, 2, 86 (2016), 60-67. (p. 60) 2 Wolf Mangelsdorf, ‘Structuring Strategies for Complex Geometry’, Architecture Design, 4, 80 (2010), 40-45. (p. 41) 3 ICD/ITKE Research Pavilion 2010, University of Stuttgart, 2010, <http://icd.uni-stuttgart.de/?p=4458> [Accessed 15 August, 2016] 4 Mangelsdorf, 80, (p. 41)

CRITERIA DESIGN

Patterning might be considered as a manner to develop expression along the surface of different types of object ranging from human skin to architecture1. In the case of architecture, the surface can be interpreted as building envelope where patterning becomes a way of expression 2. Appropriate expression gives rise to the understanding of the underlying symbolic representation in a design concept and meanwhile creates visual experience for the views. In addition, patterning can also be related to the performance of an architecture, for example, shading requirement 3. Therefore, an integrated tool for visual communication and performance could be achieved following this approach. As the form of contemporary architecture becomes increasingly irregular, in order to realize the complex geometry, building envelope needs to act corresponding, which could cause the problem of mapping pattern on to the surface. The solution is through parametric design, which represents the way to fit texture with levels of adaptability according to the surface parameters 4 . Moreover, due to that geometric complexity may also generate difficulties during fabrication process, the digital process needs to be further continued to the fabrication process 5. This architecture prototype of combining patterning and strips/folding can be recognized from many cases, for example, Double Agent White by Marc Fornes/THEVERYMANY. It is suggested that the objectives of this two agents system are to find geometry and to create ornamentation slots on the surface respectively6, which is comparable to the function of strip/folding and patterning. It is easy to understand the role of patterning, as it embellishes the structure by giving visual value. For the concept of strip/folding, Fornes further demonstrated that the self-supporting geometric form, as a ‘hyper-thin shell structure’, is achieved by maximizing the double curvature of the shell using extensive curvature, which will become series of lines and planes when scaling to real architecture dimension7. In this case, strip/folding, that is the curvature or lines and planes in real dimension, is employed to produce structural solution to the problem. Similarly, in Archipelago Pavilion by Chalmers Uni Tech, the web with complex geometric form is transformed into series of strip surface, while the pattern on surfaces is created by perforation to mimicking light penetration though trees in forest 8

1 Patrik Schumacher, ‘Parametric Patterns’, Architecture Design, 6, 79 (2009), 30-41. (p. 30) 2 Alejandro Zaera-Polo, ‘Patterns Fabrics Prototypes Tessellations’, Architecture Design, 6, 79 (2009), 18-27. (p. 22) 3 Zaera-Polo, 79, (p. 22) 4 Schumacher, 79, (p. 33) 5 Frank Barkow, ‘Fabricating Design: A Revolution of Choice’, Architecture Design, 4, 80 (2010), 95101. (p. 96) 6 Jessica Escobedo, Double Agent White in Series of Prototypical Architectures/Theverymany, Evolo, 22 July, 2012, <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypicalarchitectures-theverymany/>[Accessed 15 August, 2016] 7 Fornes, 86, (p. 61-64) 8 Lidija Grozdanic, Archipelago Parametrically Designed Pavilion, Evolo, 22 October, 2012, < http:// www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/> [Accessed 15 August, 2016]

CRITERIA DESIGN

FIG.16: ARCHIPELAGO PAVILION LIDIJA GROZDANIC, ARCHIPELAGO PARAMETRICALLY DESIGNED PAVILION, EVOLO, 22 OCTOBER, 2012, <HTTP://WWW.EVOLO.US/ ARCHITECTURE/ARCHIPELAGO-PARAMETRICALLY-DESIGNED-PAVILION/>[ACCESSED 15 AUGUST, 2016]

FIG.15: DOUBLE AGENT WHITE JESSICA ESCOBEDO, DOUBLE AGENT WHITE IN SERIES OF PROTOTYPICAL ARCHITECTURES/THEVERYMANY, EVOLO, 22 JULY, 2012, <HTTP://WWW.EVOLO.US/ ARCHITECTURE/DOUBLE-AGENT-WHITE-IN-SERIES-OF-PROTOTYPICAL-ARCHITECTURES-THEVERYMANY/>[ACCESSED 15 AUGUST, 2016] CRITERIA DESIGN

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B.2. CASE STUDY 1.0

BIOTHING--SEROUSSI PAVILION (+ HERZOG DE MEURON--DE YOUNG MUSEUM)

CRITERIA DESIGN

B.2. CASE STUDY 1.0

BIOTHING--SEROUSSI PAVILION + HERZOG DE MEURON--DE YOUNG MUSEUM

In Case Study 1.0, the grasshopper definitions of Seroussi Pavilion and de Young Museum are used as tools to explore computational design. A matrix containing results created through series of adjustments to parameters of Seroussi Pavilionâ&#x20AC;&#x2122;s grasshopper definition is included in this session following by the analysis to four most successful examples.

ABBREVIATION FOR ITERATION POINT ON CURVE(POC)

CIRCLE(GC)

POINT CHARGE(PT),

CHARGE(C)

SPIN FORCE(SF)

DECAY(D)

ORIGINAL(O)

MOVE(M)

CULL(CU)

CURVE SEGMENT(CS)

TO(-)

INVISIBLE POINT CHARGE(I):

GRAPH MAPPER(GM)

INSIDE(IN),

JITTER(J)

CURVE CONTROL POINT(CCP),

LOFT SURFACE(SL)

OUTSIDE(OUT),

PIPE SURFACE (SP)

-XY PLANE(-XY),

EXTRUDE SURFACE (SE)

CRITERIA DESIGN

POLYGON(GP)

EXTRA CHARGE(E)

SPECIES A: NEGATIVE CHARGE OF THE POINT OBJECT + BASE GEOMETRY Changing the type of geometry formed around the point divided from curve. Turning positive point charge to negative

SPECIES B: INVISIBLE POINT CHARGE Adding extra points sharing the similar point charge component with points divided from curves.

SPECIES C: ADDING/REPLACING POINT CHARGE Adding or replacing the original elements with point charges and spin forces.

SPECIES D: IMAGE SAMPLER: DEFINITION OF DE YOUNG MUSEUM Image of Aboriginal Art from: http://dnaag.com.au/wp-content/uploads/2014/12/Thunder-Storm-1.1-com.jpg Adding image, and dividing surface into points which will be connected to point charge components replacing the points from curves. Circle generated with radius variation based on image brightness will become the starting geometry for field line to develop from.

SPECIES E: DATA PATTERN SOLID Slightly altering the data structure by jitter components, and turning it into surface or mesh. CRITERIA DESIGN

5.634GP, -1C, -7.5M

2.829GP, -2C, -7.5M

5.532GP, -2C, 9.5M

3I(IN), 1C, 5D, 0.268GC, 57CS,

3I(IN), 1C, 5D, 0.703GC, 57CS,

3I(IN), -5C, 1D, 4.890GC, 57CS,

3X(PT, -XY, -5C, 1D), O(1C, 5D),

3X(PT, -XY, 5C, 1D), O(1C, 5D),

3X(SF, -XY), O(1C, 5D), 1.721GC,

1.721GC, 57CS, -3.4M

57CS, -3.4M

ORIGINAL(O*)

O*(-1C, -2D, 10M), 1-7GC

O*(-1C, 2D, 20M), CU-(PT, 1-7GC)

J, 0.41GC, 24CS, 3.2M, SL

J, 0.41GC, 24CS, 3.2M, SP

D J, 0.41GC, 24CS, 3.2M

E 40

CRITERIA DESIGN

5.532GP, -2C, 66CS, 9.5M

10.128GC, 66CS, -3C, 10M

1.669GC, 19CS, -3C, 10M

10.176GC, 56CS, -3C, 5.2M

I(CCP), 1C, -5D, 2.389GC, 73CS,

I(CCP), CU, -1C, -5D, 2.389GC,

I(OUT), 1C, 5D, 0.472GC, 34CS,

3X(SF, -XY), O(C1, D5), O(SF),

3X(PT, -XY, -5C, 1D) ,1.206GC,

3X(PT, -XY, -5C, 1D), 3.587GC,

3X(SF, -XY), 1.631GC, 57CS,

2.148GC, 57CS, 1.8M

57CS, -4.3M

58CS, -3.4M

-1.9M

O*(-1C, 2D, 10M), CU-(PT, 1-7GC), GM

O*(-1C, 2D, 8.3M), E(4SF),0.06-0.46GC, GM

O*(-1C, 2D, 8.3M), E(4SF, PT),0.06-0.46GC, GM

O*, E(PT, 1C, -2D), 0.35-1.38GC, -8.9M

J, 0.41GC, 24CS, 3.2M, SE

CRITERIA DESIGN

Selection criteria: Merri Creek is a region with special political, environmental and cultural importance. In the early ages, it used to be inhabited by Aboriginal groups, who admire the balance in nature and regard their land as the most sacred1. After colonization and the succeeding industrialization, the harmonious coexistence between human and nature collapsed. The land was changed to a quarry with industrial outlet water discharged into the creek. Therefore, there has always been a wish or an intention in nowadays society to alter the situation in Merri Creek and recover what the land used to be in the past. And this becomes the important component for the consideration of my design concept. It is suggested in Design Future that what should be done in order to ensure the future development is to act against all the unsustainable undertaking 2. In this case, the unsustainability in Merri Creek was caused by inappropriate artificial involvement to natural environment, hence, a possibility for man-made products to interact with nature actively and positively should be created. From this thought, it comes up the criteria to assess the exploration outcome: Nature: Adaptability & Flexibility & Harmonious 1 Karl-Erik Sveiby, ‘Aboriginal Principles for Sustainable Development As Told in Traditional Law Stories’, Sustainable Development, 6, 17 (2009), 341356. (p. 349-351) 2 Fry, p. 3 44

CRITERIA DESIGN

CASE STUDY 1.0 SELECTION CRITERIA & ANALYSIS Evaluation to four outcomes: All four results selected seems to be created under the manipulation of generative process, which is a very good representation to adaptability in nature. Individual units are gathered together following a similar behaviour to generate an overall pattern together, e.g. bird flocking 3, which could be a type of generation process and at the same time the explanation for B3 and D2. Each single field from a point charge sharing similar motion heads towards the centre, which illustrates the sense of individuality and convergence. Moreover, circulation might be seen as another type of generation. Instead of a group of components performing together, a path of one’s movement over a long period of time can be regard as a generation process based on my understanding. It is a representation to journey and experience. C1 and C4 have appearances similar to circulation lines, which has the potential to be embedded with function and meaning. Moreover for D2, it is mention in section (B.1) that pattern is usually added after the structure has been resolved by strip/folding, however, D2 might be seen as a structure created under the cooperation of pattern and strip/folding, as strips are formed on top of the pattern. This might achieve what discussed as the continuity between construction and ornamentation’s effect 4 . 3 Elias, Composition/Generation. 4 Farshid Moussavi, The Function of Ornament (Barcelona: Actar, 2006). p.9

Speculation: The aim of this section is to understand the data flow of the given grasshopper definition and how each component functions independently and as a part of the process. It offers an impression of how algorithmic can perform creatively by presenting numerous distinct outcomes with minor changes to parameters. My focus in the generating process is to develop a form with each component connected cohesively. This is associated with the selecting criteria of mimicking the nature. Any abrupt change on form that may results in disharmony and unpleasant visual appearance is not the ideal solution. Different forms developed in Case Study 1.0 share a similar characteristic that is lightweight and mostly dynamic. Therefore, these structure might be implemented to building envelope due to aesthetic consideration and constructability. There is also a potential to integrate technical system, which lets the envelope behave like an organic creature, for example, the breathing facade. As for several iterations that have appearances look like circulation path, these might be applied to the design of institutional space or event venue, which functions as a method to introduce journey to viewer. Expected pathway for travelling that may be embedded with some special meaning or simply facilitates the movement in public space can be created.

CRITERIA DESIGN

FIG.17: ICD/ITKE RESEARCH PAVILION, 2010 ICD/ITKE RESEARCH PAVILION, 2010, UNIVERSITY OF STUTTGART, 2010, <HTTP://ICD.UNI-STUTTGART.DE/?P=4458> [ACCESSED 29 AUGUST, 2016]

CRITERIA DESIGN

B.3. CASE STUDY 2.0 ICD/ITKE RESEARCH PAVILION, 2010 UNIVERSITY OF STUTTGART

CRITERIA DESIGN

CASE STUDY 2.0: ICD/ITKE RESEARCH PAVIL UNIVERSITY OF STUTTGART, 2010

In conventional architectural design process, material is usually involved at

the final stages, which seems to be a real life rendering process with extra consideration to the load-bearing and constructability issue. This may lead to inefficiency in terms of structure, material and costs. ICD/ITKE Research Pavilion(2010) aims to explore the undiscovered opportunities of involving materiality and consideration to fabrication at the early design stages. The material selected for this project is thin plywood sheets, with elastic bending to be its specific material property integrated in the design. The lack of precedents of architecture considering elastic bending shows that the technical and intellectual difficulties to achieve this kind of structure is very obvious1. In this case, the team decides to overcome all difficulties by including this property and its further related fabrication issue into the design parameters for the form generation. The major design intent is to create a bending active system that merges skin and structure and is composed by a set of individual behavioural elements 2. It can be argued that this pavilion has achieved very successful outcome due to the matching between design model and final real object, the level of efficiency, and the visual and environmental effects. Design continuum allows the linear process from the very first concept to the fabrication end, which ensures that the actual build form is the same as its original design. This could be further related to the improvement of efficiency. In order to check the matching situation of the real structure, 3 individual modeling procedures are established after the construction, that is a computational design model by architects (Figure. 20), a simulation model by structural engineers (Figure. 21) and a model for construction by geodesic engineers 3 (Figure. 22). However, there is only one centralized model(Figure. 19) utilized in the actual construction process. This shows how efficient the involvement of material behavior from the start compared with the conventional top-down process. Furthermore, all the individual convex and concave components formulated to achieve an equilibrium in a complex force network are fabricated to be ready for installation, with no extra structures required during the construction process 4 . As for the perspective of visual and environmental effects, ICD/ITKE Research Pavilion(2010) could also be considered as an interesting and well-thought case. Due to the alternating convex and concave shapes, the pavilion has a rich interior. It has achieved a certain level of visual and spatial depths with interesting outcome of illumination 5. Apart from this, it is also suggested that the materiality of this pavilion enables a climate responsive structure 1 Moritz Fleischmann with Jan Knippers and others, ‘Material Behaviour: Embedding Physical Properties in Computational Design Processes’, Architecture Design, 2, 82 (2012), 44-51. (p. 45) 2 Fleischmann with Knippers and others, 82, (p. 46) 3 Moritz Fleischmann, Julian Lienhard & Achim Menges, ‘Computational Design Synthesis: Embedding Physical Properties in Computational Design Processes’, Cumincad, (2011), 759-767, <http://papers.cumincad.org/cgi-bin/works/Show?ecaade2011_013> [accessed 29 August 2016], (p. 762) 4 Fleischmann with Knippers and others, 82, (p. 50) 5 Fleischmann with Knippers and others, 82, (p. 50) 48

CRITERIA DESIGN

LION

FIG.18: ICD/ITKE RESEARCH PAVILION, 2010 ICD/ITKE RESEARCH PAVILION, 2010, UNIVERSITY OF STUTTGART, 2010, <HTTP://ICD.UNI-STUTTGART.DE/?P=4458> [ACCESSED 29 AUGUST, 2016]

FIG.19

FIG.20

MORITZ FLEISCHMANN, JULIAN LIENHARD & ACHIM MENGES, ‘COMPUTATIONAL DESIGN SYNTHESIS: EMBEDDING PHYSICAL PROPERTIES IN COMPUTATIONAL DESIGN PROCESSES’, CUMINCAD, (2011), 759-767, <HTTP://PAPERS.CUMINCAD.ORG/CGI-BIN/WORKS/SHOW?ECAADE2011_013> [ACCESSED 29 AUGUST 2016]

FIG.21 CRITERIA DESIGN

FIG.22 49

1. FIELD LINE AROUND A BASE GEOMETRY

SET A

2. BLOWING UP THE CURVE

SET A

SET B

SET A+B 50

In order to achieve the effect that two undulating strips next to each other have the concave and convex forms alternative, which leaves gaps in between, two parallel systems are established, as Set A and Set B. CRITERIA DESIGN

3. UN

NDULATING THE CURVE

4. PREPARING TO BECOME STRIPS

5. SURFACE LOFTING

CRITERIA DESIGN

POINT CHARGE BASE GEOMETRY

FIELD LINES

GRAPH MAPPER

DISPATCH

MOVE

WEAVE

MOVE

LOFT 52

CRITERIA DESIGN

SET A

SET B

SET A+B

0. Shape Control: Set up two point charges to mimic the overall shape of the case study project. Create the base geometry, as a circle.

1. Creating Basic Curves: Merge the fields of the two point charges Divide base curve into points: Set B into 73 points, Set A into 146 points and cull all points at the same location of Set Bâ&#x20AC;&#x2122;s counterparts Generate field lines

2. Pumping up the Basic Curves to a Shell-like Structure: In both sets, divide curve into set of points and links the output to graph mapper. Graph mapper type is Parabola. Amplify the output and move points to form new curves

3. Undulating the Curves: Divide the curves into 7 steps according to the number of peaks in case study project Opposite treatment to Set A and B: Dispatch the points into 2 groups, on moving upwards in the normal direction, and the other downwards Weave the new points together following the original manner. Create curves based on the new points

CRITERIA DESIGN

POINT CHARGE BASE GEOMETRY

SET A

FIELD LINES

GRAPH MAPPER

DISPATCH

MOVE

FINAL OUTCOME

WEAVE

MOVE

LOFT 54

CRITERIA DESIGN

SET B

SET A+B

4. Offsetting/Moving: Divide the curve again Move the points on the curve along the normal direction of each points on the curve, with a specific range. This can achieve a strips narrower at the inner start and wider at the outside end.

5. Lofting Surface: Loft the offset curves with the original one before moving

CRITERIA DESIGN

CASE STUDY 2.0 SELECTION CRITERIA & ANALYSIS Comparison Shape: As the grasshopper

definition is created trying to reverse engineer the pavilion, they share a similar appearance that is a semi torus shape composed by series of concave and convex strips. Each strip touches its neighbours with gaps created between a concave form and a convex counterpart. However, there is a clear difference between the two outcomes. The real computation process uses the concept of strip/folding to mediate the structural load-bearing complexity, while the reversed engineering trial is more like a procedure to make pattern based on strip and folding, as the strips are formed at the very end by lofting two sets of undulating curves to mimicking the existing projects.

Process: Both the original

system and the reverse engineering model are created relying on design computation, but the focus are very different. The reversed-engineering practice aims to restoring the form of the case study project, however, the pavilion is actually developed to explore the design possibility of including material properties in design process. The distinct objectives result in two different design process. The primary form of the real project is created using sets of parameters with continuous testing, which is then sent to a simulation 56

CRITERIA DESIGN

stage for generating the most satisfied outcome. The final design model will then be transferred through computation system for fabrication and construction. Unlike this design continuum, the grasshopper definition is created based on imaging what the structure is composed of. By inserting related containers and components, the basic form of this project is trying to be reproduced.

integrity2. Instead, what has been produced in reverseengineering process is more like the conceptual design model if analysing in conventional manner mentioned before (design model of the 3 models to test the result) 3 . In this case, it can be seen that the grasshopper definition is trying to reproduce the general form of the design.

A torus is the starting point for the real centralized design model, which is then divided into series of strips determined by the predefined parameters. As for its reverse-engineered trial, it is achieved by creating field lines on the base geometry, that is a circle, applying components like graph mapper and loft, and altering data structure continuously according to the needs.

Further Development and Implication

Detail: Although the

undulating surfaces touches each other in both models, the treatments to the details have some differences. In order to realize and facilitate the construction process, special treatments that are extremely complex are made according to the load-bearing situation of a elastic bending system. This is proved that 500 different strip shapes are generated to avoid unpleasant load concentration1, with special consideration made to 3 types of detailing strategies to ensure the structural 1 Fleischmann, Lienhard & Menges, (2011), (p. 761)

As the structure is created using strips/folding principle, there is an opportunity to implement pattern on top or to start the formgenerating process from a predefined process. In this way, a integration of this two methods can be realized as mentioned in B.1. and B.2.(one of the successful outcome is generated by applying strips on top of a pattern created using image sampler). Box Morph after Surface Box might be a solution to this proposal. In addition, differentiation could be made to the lengths and shapes of each strips, which might be integrated with the local topography or considered with circulation of target clients.

2 Fleischmann with Knippers and others, 82, (p. 47) 3 Fleischmann, Lienhard & Menges, (2011), (p. 762)

CRITERIA DESIGN

B.4. TECHNIQUE: DEVELOPMENT ICD/ITKE RESEARCH PAVILION, 2010 UNIVERSITY OF STUTTGART

CRITERIA DESIGN

ABBREVIATION GC: CIRCLE CDS0: BASE CURVE DIVIDE SEGMENTS FLS: FIELD LINE STEPS PC: POINT CHARGE GT: TRIANGLE GS: SQUARE GN: NONAGON GM: GRAPH MAPPER GMM: MOVE1---AFTER GRAPH MAPPER CDS1: CURVE DIVIDE SEGMENTS FOR GRAPH MAPPER CDS2: CURVE DIVIDE SEGMENTS FOR OFFSET OM: MOVE 2--FOR OFFSET OR: OFFSET RANGE J: JITTER(SE: SEEDS) BM: BOX MORPH EPM: EXTRUDE PENTAGON MESH DD: DOMAIN DIVIDE IS: IMAGE SAMPLER SF: SPIN FORCE (CP: CENTER POINT, M: MID THREE POINTS, T: TOP THREE POINTS, RE: REPLACE ALL) (S: STRENGTH, R: RADIUS) CL: CHANGE POINT LOCATION

CRITERIA DESIGN

SPECIES A: CURVE SECTION Adjusting the graph mapper, and using different graph type.

SPECIES B: INITIAL FORM CONTROL Changing the magnitude of point charges at the very beginning of the definition, which have the overall influence to the whole structure.

SPECIES C: BASE GEOMETRY SIZE AND DIVISION Creating resultant forms by zoom in and out the base geometry following by the adjustment to the amount of segments divided on base geometric curve.

SPECIES D: BASE GEOMETRY TYPE Replacing the original circle with triangle, square and nonagon. Adjusting the resultant overall shape by the amount of charges, radius, curve section, curve divided segment, and field line steps.

SPECIES E&F: DISCOVERY: FOLD&UNFOLD During the previous exploration, it can be found that the structure created using this definition can be folded and unfolded by adjusting the magnitude of the centre point charges and the radius of base geometry. In this case, this two species are conducted to discover the potential of this structure to be folded based on the unfolded form from Species D. This sense of folding and unfolding could correspond to the selection criteria â&#x20AC;&#x2DC;nature, flexibility, adaptability, etc.â&#x20AC;&#x2122;. However, the results are not very satisfied.

CRITERIA DESIGN

30, 36, 52, 23, 7

100, 100, 85, 98, -5

101, 101, 33, -32, 8

GC, CDS0(132A, 100B), FLS(275A 387B)

20 GC, CDS0(29A, 100B), FLS(275A, 257B)

20 GC, CDS0(73A, 39

CRITERIA DESIGN

9B), FLS(172A, 154B)

-81, 101, 33, -32, 8

-17, 101, 31, -48, 10

10 GC, CDS0(73A, 39B), FLS(172A, 154B)

2 GC, CDS0(73A, 39B ), FLS(106A, 554B) CRITERIA DESIGN

PC(-67, -9, 6, 100, 2); 3GT, CDS0(35A, 34B), FLS(803A, 896B)

PC(-2, -3, -2, 100, 2); 3GT, CDS0(67A, 75B), FLS(734A, 1000B)

PC(79, 2, -49, -69, 13); 34B), FLS(803A, 866B

PC(-67, -9, 6, 100, 2); 0.001GT, CDS0(35A, 34B), FLS(803A, 896B)

PC(-2, -3, -2, 100, 2); 0.001GT, CDS0(67A, 75B), FLS(734A, 1000B)

PC(79, 2, -49, -69, 13); CDS0(35A, 34B), FLS

PC(-67, -9, 6, 100, -70); 3GT, CDS0(35A, 34B), FLS(803A, 896B)

PC(-2, -3, -2, 100, -70); 3GT, CDS0(67A, 75B) FLS(734A, 1000B)

PC(79, 2, -49, -69, -70 34B), FLS(803A, 866B

CRITERIA DESIGN

; 3GT, CDS0(35A, B)

PC(-4, 21, 74, 100, 100); 2GS, CDS0(125A, 83B), FLS(585A, 777B)

PC(-2, -11, 8, 30, 0); 10GN, CDS0(59A, 53B), FLS(94A, 510B)

; 0.001GT, S(803A, 866B)

PC(-4, 21, 74, 100, 100); 0.001GS, CDS0(125A, 83B), FLS(585A, 777B)

PC(-2, -11, 8, 30, 0,); 1GN, CDS(59A, 53B), FLS(94A, 510B)

0); 3GT, CDS0(35A, B)

PC(-4, 21, 74, 100, -70); 2GS, CDS0(125A, 83B), FLS(585A, 777B)

PC(-2, -11, 8, 30, -70); 10GN, CDS(59A, 53B), FLS(94A, 510B) CRITERIA DESIGN

CRITERIA DESIGN

SPECIES G: HEIGHT AND WIDTH OF STRIPS After blowing up the field line from XY plane using graph mapper, the lines needed to be divided into segments and then undulated through movement in each point(1st displacement to create ‘height’). The strips can then be created by offsetting each undulating line(2nd displacement to create ‘width’). By adjusting the amount of displacement during these two steps, the form can be changed largely.

SPECIES H: BOX MORPH Applying box morph on top of each strips with the assistance of surface box.

SPECIES I: DE YOUNG MUSEUM COMBINATION Image of Aboriginal Art from: http://dnaag.com.au/wp-content/uploads/2014/12/Thunder-Storm-1.1-com.jpg Adding image sampler. Circle generated with radius variation based on image brightness will become the base geometry for field line to develop from. Strips to create pattern.

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5GC, GMM(-2.742A, -0.09B); CDS2(3A, 3B); OM(10A1, 4.262A2, 6.811B1, -2B2)

1GC, GMM(-2.742A, -0.09B); CDS2(3A, 3B); OM(10A1, 1.262A2, 7.425B1, -2B2)

1GC, GMM(20A, -21B OM(-10A1, -10A2, 20B

BM, DD(4U 10V)

BM, DD(4U 10V), CDS0(40A, 20B)

BM, DD(3U 6V), CDS

CDS0(20A 10B), FLS(100AB), GMM(2.383A, 2.000B)

CDS0(20A 10B), FLS(100AB), GMM(2.383A, 2.000B), GM

CDS0(20A 10B), FLS(1 132B), GMM(6.585A, 2.000B), GM, OR(0.5-

CONCEPTUALISATION

B); CDS2(2A, 2A); B1, -10B2)

1GC, GMM(-21A, -21B); CDS2(4A, 3A); OM(9.426A1, 1GC, GMM(-21A, -21B); CDS2(4A, 3A); OM(9.426A1, 10A2 10A2, 1.280B1, -10B2), GM, OR(6-0.5) 1.280B1, -10B2), GM, FLS(519A, 567B), CDS0(124A, 73B)

S0(40A, 20B), FLS(486A, 449B)

BM, DD(3U 6V), CDS0(40A, 20B), FLS(820AB), PC(CP 2)

BM, DD(3U 6V), CDS0(40A, 20B), FLS(820AB), PC(CP 25), 1GC, GMM(20AB)

(176A

CDS0(20A 10B), FLS(176A 132B), GMM(6.585A, 1.600B), GM, OM(-7.252A1, 2.064A2, -7.753B1, -10B2), OR(0.5-2.0)

CDS0(20A 10B), FLS(176A 132B), GMM(6.585A, 1.600B), GM, OM(2.087A1, 2.064A2, 4.843B1, 3.610B2), OR(0.5-2.0)

-2.0)

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SPECIES J: THE FAVOURITE SPIN FORCE Adding spin force as supplementary or replacement to existing point charges. Require some adjustments done to the radius of base geometry, the steps and the way to form field lines, graph mapper, 1st and 2nd displacement. Form created in this species are very different from all the other counterparts. Therefore, more exploration was conducted with also a further discovery ‘sub-species J’’

SUB-SPECIES J’: THICKNESS VARIATION Starting from the most interesting iterations from species J, forms in this category show a gradual changes on the thickness of strips. This is achieved by adjusting the domain which creates range for the 2nd displacement. Jitter is also used in some cases to generate interesting variation on strips.

CRITERIA DESIGN

SF(CP10S, 10R), CDS0(60A, 73B), FLS(1000AB)

SF(M30S, 10R), CDS0(80A, 40B), FLS(880A, 899B)

SF(T16S, 6R), CDS0(8

SF(RE: CL), GM

3.7GC, SF(RE: CL), CDS0(A125, B49), FLS(A1000, B1000), GMM(A-8.831,

3.7GC, SF(RE), CDS0(A125, B49), F

B-20.744), CDS2(A7, B5), OM(-6.8A1, 0.822A2, 16.691B1, 10B2), OR(0.5-4), GM

B-21), CDS2(A7, B3), OM(0.4A1, 10

7.398GC, PC(29CP), SF(RE 16S 6R), CDS0(A119, B58), FLS(A1000-

2.237GC, PC(30CP), SF(RE 16S 6R), CDS0(A79, B40), FLS(A968-352,

1.5GC, PC(30CP), SF(RE 16S 6R), C

312+J, B1000-475), GMM(A16.217, B-21), CDS2(A5, B7),

B555-475), GMM(A16.217, B-21), CDS2(A5, B7), OM(0.250A1,

B550-475), GMM(A16.217, B-21), C

OM(0.250A1, 10A2, 13.551B1, 1.6B2), OR(0.5-4), GM CRITERIA DESIGN

6.512A2, 13.935B1, 6.208B2), OR(0.5-4), GM

0.710A1, 7.536A2, 9.903B1, 8.435B

80A, 40B), FLS(880A, 899B)

SF(RE7S, 6R), CDS0(49A, 15B), FLS(1000AB), GM, CDS2(6AB)

SF(RE7S, 6R), CDS0(150A, 75B), FLS(1000AB), GM, CDS2(10AB)

FLS(A465-1000, B356-1000), GMM(A-0.119,

1.5GC, SF(RE), PC(75CP), CDS0(A125, B49), FLS(A465-1000,

1.5GC, PC(75CP), SF(RE 16S 6R), CDS0(A121, B49), FLS(A1000-464, B1000-475),

0A2, 20.001B1, 7.15B2), OR(0.5-4), GM

B356-1000), GMM(A-0.119, B-21), CDS2(A7, B3), OM(0.4A1,

GMM(A16.217, B-21), CDS2(A4, B7), OM(2.650A1, 10A2, 14.151B1, 2.35B2), OR(0.5-4), GM

10A2, 20.001B1, 7.15B2), OR(0.5-4), GM

CDS0(A84, B51), FLS(A968-352,

1.5GC, PC(30CP), SF(RE 16S 6R), CDS0(A21, B64), FLS(A968-

1.5GC, PC(30CP), SF(RE 16S 6R), CDS0(A24, B56), FLS(A942-486+J, B754-302+J),

CDS2(A5, B7), OM(-

352+J, B550-475+J), GMM(A18.185, B-21), CDS2(A5, B7), OM(-

GMM(A20, B-21), CDS2A5, B7), OM(-2.150A1, 9.456A2, 9.303B1, 7.235B2), OR(0.5-4), GM

B2), OR(0.5-4), GM

2.150A1, 9.456A2, 9.303B1, 7.235B2), OR(0.5-4), GM CRITERIA DESIGN

1Jâ&#x20AC;&#x2122;3

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OR(0.5-2)

OR(0.1-1)

OR(0.5-6, J S1A 2B)

OR(0.5-2, J S2A

AB)

OR(0.1-1, J S2AB)

OR(0.5-6, J S2AB)

OR(0.5-2, J S1A 2B)

CRITERIA DESIGN

2Jâ&#x20AC;&#x2122;1

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OR(0.5-2)

OR(0.1-1)

OR(0.5-4, J S1A 2B)

OR(0.5-2, J S2A

AB)

OR(0.1-1, J S2AB)

OR(0.5-4, J S2AB)

OR(0.5-2, J S1A 2B)

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2Jâ&#x20AC;&#x2122;5

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OR(0.5-2)

OR(0.1-1)

OR(0.5-6, J S1A 2B)

OR(0.5-2, J S2A

AB)

OR(0.1-1, J S2AB)

OR(0.5-6, J S2AB)

OR(0.5-2, J S1A 2B)

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CASE STUDY 2.0 SELECTION CRITERIA & ANALYSIS SELECTION CRITERIA Nature: Adaptability & Flexibility & Harmonious The concept associated with nature retrieved from the environmental unsustainability in Merri Creek and aboriginal culture is still regarded as suitable for this design project. In the section, a further explanation to the selection of this criteria will be added following by several additional guidelines. It is possible that the lack of resources and the system of aboriginal society that tribes is composed of small families, many aboriginal arts tends to be established using small repetitive geometries. This feature of aboriginal arts matches the process of this parametric design process, which the structure will consist of individual units that forms an overall effects by accumulation and connection at details. In this case, there is a possibility that retrieving relevant ideas from aboriginal culture could facilitate the design process. Complexity and Diversity: From the existing art forms and styles that have inspiration driven from aboriginal art, one common intent of these works is to break the restrain of social ritual and create a less ordered form1. Therefore,

1 Carol Cooper, Aboriginal Australia: National Gallery of Victoria, Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery, 19811982 (Sydney: Australian Gallery 80

CRITERIA DESIGN

it is believed that the form selected for this project should have certain level of complexity instead of a regulated pattern suggested in Case Study 1.0. This idea further coincides with some characteristics in aboriginal arts that although most works have simple treatment in terms of the material for presentation, the expression and the underlying representation are extremely rich 2. Moreover, due to the fact that aboriginal groups often try to protect their culture and religion from outside influence and retain as a secrete for others 3, it is very complex to understand the meaning of their art works. In this case, complexity and diversity are believed to be necessary for this design project. Wearability&Constructability However, in order to construct the garment and ensure the fundamental function of clothing, the level of complexity needs to be controlled. For example, in Species J, various distinct iterations from all the other species were produced, but forms in 3J are too complex to further manufacture. Complex variation applied on forms may only function when ensuring the buildability.

Directors Council, 1981). p. 9 2 Cooper, Aboriginal, p. 27 3 Cooper, Aboriginal, p. 10

EVALUATION AND SPECULATION ON SUCCESSFUL OUTCOMES Exploration process During the exploration process, several attempts were made in order to find the satisfied forms for later design. The first trial is to discover the foldability of this strip structure/ definition. When adjusting the parameters in the grasshopper definition, it is observed that by changing the radius of base geometry and the magnitude of center point charges, the structure can be folded and unfolded, which matches the requirements of flexibility and adaptability. As a result, a set of iterations was created to explore the potential. However, the resultant form is either too similar to the existing project or too small for further development, which is not very satisfied. Furthermore, several examples to achieve folding and unfolding process is discovered, it is found that this feature of foldability requires a separate structural system behind the front â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122;/envelope to achieve its operation, such as umbrella and folding fan. Although the form is not satisfied, this parallel systems of structure and skin might still be considered for further developing process. The other attempts are developed from the

perspectives of increasing complexity and diversity. During the exploration process, most forms are easy to understand and have similar appearances to their origin. In this case, extra components were integrated into the existing grasshopper definition to alter the shape to a greater extent. The structure is firstly combined with the image sampler definition from de Young Museum and later with a set of components to apply box morph on top of the lofting surface. What created in these way are much more different from the original project, but give an overall redundant and repetitive feeling. The influence of artificial treatment on these outcomes is very obvious, which is believed as inappropriate for the design intent and selection criteria.

development(subspecies Jâ&#x20AC;&#x2122;) is conducted to test different types of thickness and shapes of each strips in order to facilitate the further design. Speculation on design potential All these three structures could be developed into a parametric garment. 1J3 might be a piece for the whole body, and 2J1 gives an impression of half-length container if placed vertically. As for 2J3, the helmet like structure might be developed into joints or as a collar...

The last species of spin force have generated very interesting form that also has certain level of complexity and diversity. The forms of these iteration not only just breaks the boundary of the case study projects, but also reflect to nature owing to their dynamic and vivid shapes. Strips and layers are positioned without too much reference to the underlying artificial process, which instead have free forms that seem to be grown naturally. Among all the iterations, by considering the other selection criteria of wearability, etc.(3J series are too complex for later model making), 1J3, 2J1 and 2J3 are taken for the most successful outcomes. Further CRITERIA DESIGN

CRITERIA DESIGN

B.5. TECHNIQUE: PROTOTYPE MATERIALIZATION: FABRICATION AND ASSEMBLY

In Spanish Pavilion(EMBT), weaving, as the special material property, largely determines its form and aesthetics; for Foundation Luis Vuitton(Gehry Partner), material is predesigned to best suit the overall shape; in AA/ETH Pavilion, the material characteristic is considered as one of the most fundamental input of the generative design process; while in ICD/ITKE Research Pavilion, the curiosity of applying material properties to form, fabrication and assembly starts the design. In this case, it can be argued that materialization is an indispensable component of digital design process. In this section, prototypes will be produced based on the technique developed from Case Study 2.0. This exploration process aims to realize the form of undulating strips and the associated connections in between. The previous selection criteria and design concept will also be included.

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...TO BEGIN WITH

FROM B.4. TECHNIQUE DEVELOPMENT: The resultant form from the reverse engineering process is very complex, which makes the process very difficult to start. In order to explore the method for fabrication and connection, 2 overlapping undulating strips are selected from the 2J5. Two overlapping strips give an appearance of the weaving shape without loosing the opportunity to explore connection details.

CRITERIA DESIGN

FIG.23: DERMOID AUSTRALIA DERMOID AUSTROLIA, KADK, 2013, <HTTPS://KADK.DK/EN/CASE/DERMOID-AUSTRALIA> [ACCESSED 12 SEPTEMBER, 2016]

PRECEDENTS: DERMOID AUSTRALIA (CITA, SIAL, RMIT) The Dermoid Australia project is a very good example to the materialization process of curve strip forms. The structure is composed of two major components: the rigid web and the soft flange. Therefore, the prototype to realize forms from previous studies will be based on the similar principle. However, there is also difference: the undulating strips in this project has 2D curvature, while the curve from technique development is 3 dimensional.

CRITERIA DESIGN

PROPOSAL: 3 PARALLEL SYSTEMS - STRUCTURE(S), CONNECTION(C), SKIN(SK)

Structure: S01-S03 To create the undulating curve shape: concave or convex

Connection: C01-C07 a: connection within one strip a1. To place and maintain rigid web structures are at their right location, which helps to match the shape of the real object with its digital model. a2. To achieve certain level of flexibility according to the design concept and requirement of a garment. a3. Based on interim presentation feedback, connection between structure and skins can be used to create patterns on strips. b: connection between strips and with others b1. To connect two strips and allow relative movement b2. To link strips together at top and bottom in order to form a garment.

Skin: SK01-SK02 1. Aesthetic consideration 2. Help to maintain form 3. To allow movement

CRITERIA DESIGN

S01 C01: STRUCTURE: Rigid Web & Rigid Connection (Digital Modelling) In this stage, the structure and connection are formed together using grasshopper. Three trials were made with different problems identified each time.

Method: Unroll all surfaces to create a grid of points. Extrude polylines connecting all points in the same roll to create the â&#x20AC;&#x2DC;webâ&#x20AC;&#x2122;. Interconnecting pieces produced to keep the relative location of each web. Problem: The extrusion from polyline is not exactly planar, as a result the connecting pieces needs to be cut with an angle, which is not possible for laser cutter.

Method: Divide surface at the two sides only, and connect in pairs. Web extruded from the intersection between original surface and the extrusion of connecting lines to ensure the planarity of all webs Problem: Connecting pieces in between webs have ends with angle

Method: Create points only on one side. Move all along x-axis to form straight and parallel lines. Move all along y-axis to form the connecting pieces. Therefore, all the connecting pieces are perpendicular to webs. Selected for fabrication CRITERIA DESIGN

S02 C02: STRUCTURE: Rigid Web & Rigid Connection (Real Model)

Prototype 01

Material: Clear perspex for web and connection(aesthetic consideration: hide the structure

Method: Web has notches (all underneath the web) with holes left on soft skin; Slots left o Advantages:

1. Planarity Issue solved: all elements were produced successfully through laser cutter, whi 2. Good representation of original form: keep the curvature in digital model Disadvantages: - Extremely rigid: will hold the body and not allow any movement.

- Assembly issue: when slotting the connection pieces into holes left from web, although t assembling. Tapes or rubber band can be use at the inside and outside of the joint to fix t 88

CRITERIA DESIGN

e); black cardboard as soft flange(softest material in Fablab for laser cutting).

on webs for connection pieces to put in

ich means all components have edges in right angle.

the sizes match the connecting elements can move around easily, which cause problem for the connection CRITERIA DESIGN

C03 SK01: Flexibility or Rigidity (Speculation) How to make it less rigid?

DESIGN CONCEPT & SELECTION CRITERIA NATURE, ADAPTABILITY, DYNAMIC, COMPLEXITY

DESIGN FUNCTION

2J5 + PROTOTYPE 01

MOVEMENT OF BODY, MOVEMENT AT JOINT, SOFT, COMFORT

RIGID, UNABLE TO MOVE, FIXED SHAPE CASE NOT CLOTHING

A FLEXIBLE ALTERNATIVE IS NECESSARY AT CONNECTION AND SKIN

Body Movement Body movement tends to occur at joints, for example, elbow and spine. Following the movement, the garment will be stretched and bent. Therefore, modification to the existing prototype should aim to increase the elasticity of the system. Several attempts have been made to increase the flexibility of the structure using different materials and from different perspectives(connection and skin). Moreover, testing on body is also conducted focusing on the elbow area.

CRITERIA DESIGN

C04: CONNECTION: Soft Connection (Testing 01 Twist Tie) In this stage, several types of material for connection pieces are tested in order to achieve certain level of flexibility

Advantages: Allow some movement of the strips Disadvantages: Difficult to form the shape of the strips structure since there is no tension existed. Difficult to move and stretch during testing due to the wire inside tends to wrap around the corner.

CRITERIA DESIGN

C04: CONNECTION: Soft Connection (Testing 02 Rope) In this stage, several types of material for connection pieces are tested in order to achieve certain level of flexibility

Advantages: Move smoothly from components to components Disadvantages: Little bending on the strips appear when apply strength at the two sides. Still not able to keep the shape of the digital model.

CRITERIA DESIGN

C04: CONNECTION: Soft Connection (Testing 03 Rubber Band) In this stage, several types of material for connection pieces are tested in order to achieve certain level of flexibility

Advantages: Move smoothly, able to achieve shape if stretch tightly. Deform a lot under stretching. Disadvantages: Material too short to run through each components. Require extra cable tie to several rubber bands together. Satisfied material, but require continuous material rather than segments: Elastic Cord

CRITERIA DESIGN

S03 C05: CONNECTION: Soft Connection (Testing Result) Elastic cord is utilized to replace short rubber band with also slight changes to the structural components

Structural Changes: Instead of putting all rigid web structures at one side of the surface, they are placed at the top where curve is concave and at the bottom if it is convex. This could help to better retain the shape when applying forces. Connection Changes: Elastic cord is used to run through the whole set of structure, and it is tightened up to achieve the shape. At the changing section between convex and concave parts(point of inflection), cords needs to penetrate the surface. Advantages: Strips are now able to be stretched and contracted, therefore, add more flexibility. 94

CRITERIA DESIGN

C06: CONNECTION: Soft Connection (Body Testing) Outcome is applied to elbow where is believed as a major point for movement on human body.

At the end of the resultant structure from C05, 2 inelastic cotton threads are applied with two hooks further linked with the ring structure on shoulder and wrist. This can then transfer load to the main strip part and let it act corresponding to body movement

CRITERIA DESIGN

C07: CONNECTION: Strip-Strip Intersection (Trial 01) When connecting two pieces together, the connection in between is a detriment to relative movement and stability.

A single gap is created at one strip and the other one will be slotted into it. Advantages: Allow relative movement between strips Disadvantages: Can not resist lateral force. The connection will be broken when stretching

CRITERIA DESIGN

C07: CONNECTION: Strip-Strip Intersection (Trial 02) When connecting two pieces together, the connection in between is a detriment to relative movement and stability.

2 gaps are created at each strips, and they will clip to each to other Advantages: No Disadvantages: Can not resist lateral force. The connection will be broken when stretching. And does not allow relative movement.

CRITERIA DESIGN

C07: CONNECTION: Strip-Strip Intersection (Trial 03) When connecting two pieces together, the connection in between is a detriment to relative movement and stability.

A single gap is created at one strip with two additional hole at each sides. On the other piece, a â&#x20AC;&#x2DC;sliding trackâ&#x20AC;&#x2122; is cut out. Slot one to the other and use a cable tie to connect two hole travelling through the sliding track. Advantages: Allow relative movement between strips and prevent from breaking. Selected for prototype connection.

CRITERIA DESIGN

C07: CONNECTION: Strip-Strip Intersection (Application) When connecting two pieces together, the connection in between is a detriment to relative movement and stability.

CRITERIA DESIGN

SK02: SKIN: Exploration Process Trying to be more flexible for skin material selection in order to let the whole structure behave better to stretching and bending.

OPTIX CARD BLACK: Medium hardness. Relatively inflexible as it is paper. Sustain shape quiet well especially under stretching.

Back to

Softer?

PAPER CUTTING EXPERIMENT:

Fabric/Card/Paper CUTTING:

A way to change hard material to soft material, from inflexible to flexible

By cutting thin line on these material, leather and paper can be stretched. Card can only be extend a little but it can be rotated as a result.

Using Fabric? FABRIC SELECTION: Elastic fabric always drapes, while inelastic material is rigid. Therefore cut hard fabric in special manner to make it more flexible. Hard fabric example: leather.

100

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TESTING CUTTING ON CARD: Just a try but out of expectation: very good outcome when integrating with elastic cord. Produce the closest form to digital model possibly due to the new characteristics of rotation endowed by cutting.

TESTING PROTOTYPE USING LEATHER: Unsuccessful: Failed to hold the shape. Even hard fabric without cutting is too soft for prototype.

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101

FINAL RESULT Rigid Structural Web, Convex(underneath), Concave(above), Clear Perspex Elastic Cord+Inelastic Thread and Hook for further connection, Gap & Hole & Sliding Track OPTIX Card Black Skin, Cutting lines

102

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Based on interim presentation feedback: * Trying to adopt patterning at the connection between structure and the skin (will try later in part c) * Trying to reduce the structure to the most essential connection point: combine the structure and connection system as much as possible

In order to create the shape of the strips without the help of rigid web systems, the points of inflection for the edge curve should be found out if the form has both concave and convex curvatures. After locating these points, holes are cut at the location of the both edges and the points of inflection or further connection. A set of 3 points are cut to test how to achieve the curvature in the other direction. Material: Polypropylene, Elastic cord, Cable tie

Hole 1(a b c)

Hole 2(a b c)

Hole 3(a b c)

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103

BASED ON INTERIM PRESENTATION FEEDBACK: * Trying to adopt patterning at the connection between structure and the skin (will try later in Part C) * Trying to reduce the structure to the most essential connection point: combine the structure and connection system as much as possible

1.2. Component A: concave & convex, connecting 1a2b3c 3.4. Component B: concave & convex, connecting 1a2c3a 5.6. Component C: convex only, connecting 1a3c

104

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105

106

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B.6. TECHNIQUE: PROPOSAL DESIGN PROPOSAL

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107

Artificiality v.s. Nature in Merri Creek 108

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...FROM SELECTION CRITERIA TO DESIGN PROPOSAL

After researching information about aboriginal culture and the environmental issue in Merri Creek, the existing design criteria is still believed as matching with the further design direction. Apart from that, by proceeding site visiting and the technique prototype development process, additional consideration has also been made.

Nature: Sustainability & Aboriginal Culture When searching in Google about Merri Creek, two of the most relevant topics are environmental sustainability and aboriginal culture. This two themes, which seem to correspond to each other, have been pushed to the opposite sides after industrialization owing to the human involvement into nature. Merri Creek, where used to be treated as the sacred by its original inhabitants, no longer has a sustainable future. Therefore, the design proposal should be driven towards sustainability. Since it is aboriginal groups who had successfully maintained a balance between human and nature, it might be deduced that by following and learning from aboriginal culture, it is possible to achieve sustainability. In this case, a series of design criteria decided considering indigenous culture should be appropriate for form generation. However, a paradox may occur at this stage of thinking. Although the forms from the previous technique development were examined by a series of nature related criteria, keeping them for further development might go against with the intention of retrieving nature due to their stiffness/rigidity. Apart from this, a piece of garment is for human, and the most natural part of human is our body. If applying rigid structure on top of the body, the movement and behaviour will be largely restrained, which might be interpreted as the nature will be restrained. Hence, more consideration should be made before adopting the previous form. In the contrary, the prototype developed with an aim to facilitate body movement may be considered as promoting nature.

Artificiality: Nevertheless, technology and industry have already become an inevitable part in nowadays society. It is impractical to abandon all. During the site visit, coexistence of nature and man-made elements can be discovered in Merri Creek. Two situations might occur under this kind of coexistence, that is either nature adapting to human or human adapting to nature. However, the first might result in damages in the environments, which leads to unsustainability. Hence, artificiality should aim to adapt to nature.

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109

This ideas of nature and manmade might also be used to interpret the two prototypes developed before, that the rigid system with prefigured shape represents artificial world while the flexible alternative stands for nature. By associating these two types of structures together according to the level of movement required at different part of the body, an integration of nature and artificiality could be achieved. The resultant division could be: 1. body trunk and arms, where joints and spine exist 2. oversized pants/skirt where could be relatively statics if not flowing along the body curve. By adopting different system to each parts, the body movement could be permitted so does the application of rigid complex form. A poster of Coppelia reminds me the similarity between this proposal and a ballet dress that has relative static skirt with flexible sleeves and tops, which might be a possible direction for development. Movement: Adaptable strips flowing along body curve; fabrication: soft system

Static: Rigid form retrieved from techniques; fabrication: rigid system FIG.24: COPPELIA 2016 SIMON PARRIS, THE AUSTRALIAN BALLET ANNOUNCES SEASON 2016, SIMONPARRISMANINCHAIR, 2015, <HTTPS://SIMONPARRISMANINCHAIR. COM/2015/09/23/THE-AUSTRALIAN-BALLET-ANNOUNCES-SEASON-2016/> [ACCESSED 13 SEPTEMBER, 2016]

110

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111

B.7. LEARNING OBJECTIVES & OUTCOME OBJECTIVE 1: Interrogating a brief Under the manipulation of digital technology, brief to a project seems to become a criteria to select appropriate design form. Through computational design, it is possible to generate significant amount of outcomes. In this case, deciding the direction at the very start of the process according to the brief may restrict the development to some extent and make the outcome less interesting. In contrast, its later involvement after form generation as the basis for election could ensure that the result is both innovative and matches with the requirements.

OBJECTIVE 2: Ability to generate a variety of design possibilities for a given situation Grasshopper helps to create a linear form generating process from the fundamental point, curve or geometry to the final structure. Each stage is linked cohesively with multiple parameters for control. Besides the improvement of efficiency by digital design, it also brings more design opportunities. The exploration process to generate a matrix of form based on existing grasshopper definition helps me understand and discover the extensive opportunities of computation design.

OBJECTIVE 3: Skills in various three dimensional media By going through weekly practice using journal and sketchbook, the skills of using different types of media are improved largely. In parametric modelling environment of grasshopper and rhino, expecting forms and ideas could now start to be realized by manipulating different components and alternating data structures. Multiple types of analytic diagramming can be utilized according to specific needs in order to provide explanation and generate detail analysis, for example, the line diagram to narrow the parametric modelling process is much more direct than grasshopper definition. The prototype development process assists on my understanding of the opportunities and restriction of digital fabrication, which could let the future materialization become more efficient. OBJECTIVE 4: Understanding to architecture and air The prototyping process is a very essential steps for design. It convert design from its conceptual form to reality. Thinking is less sophisticated than making it work, as there are lots of issues needed to be considered, for example, the planarity and tolerance of fabrication and material. Physical force is another aspect that always tends to be ignored in during design process, which is important for fabrication and may also provide opportunity for design. The way to find out how to realize the form is through constant trying and failures. 112

CRITERIA DESIGN

OBJECTIVE 5: Ability to make a case for proposal A case to a proposal could be developed in various manner. From Part B, the case seems to be developed starting from a point without too much thinking of the proposal. After generating series of possible solution, the criteria decided based on brief, site and proposal will help to narrow the range down, or in the other word, to match all satisfied outcomes with proposal. In Case Study 2.0., all possible solutions are examined using criteria set based on research(research field and site information) and experiments(prototype).

OBJECTIVE 6: Capabilities for conceptual, technical and design analyses of contemporary architectural projects Part A and B together assists to form a systematic approach to analyse architectural precedents. Firstly, the conceptual and design innovation of different topics and fields is discovered in the research projects. By comparing and contrasting ideas from different project with perspectives in architectural discourses, both the ability of investigation and the level of understanding to existing architectural development have been improved. Moreover, through the realization process of the reverse engineering project using visual programming tools, which seems to be impossible several weeks before, the relevant technical issues and computational geometry are better comprehended, and this might lay the background for future design.

OBJECTIVE 7: Foundational understandings of computational geometry, data structures and types of programming After practicing in parametric modelling environment, the way of thinking to form creation has been changed. The conventional design method is a series of development based on a physical object, however, the intervention of grasshopper revolutionize the whole process. It divides the design proposal into simple components and convert geometric forms into sets of data structure. Instead of manipulating geometries and forms in real life or in 3D modelling space, visual programming allows changes to form through some adjustment on data. This has made the form generation process more logic and easy to modify.

OBJECTIVE 8: Developing a personalized repertoire of computational techniques Accompanied with the development of journal and sketchbook, various types of computational techniques have been introduced and discovered, from adjusting data structures, exploiting geometric forms to fabrication consideration. Data structure in visual programming is one of my favourite area because slight adjustment on data could cause very significant difference on the resultant form. From the digital fabrication process, the advantages and disadvantages of using different types of computational techniques for materialization process are sorted out. For example, unrolling surface could be beneficial for creating pattern on an irregular surface but is not very helpful with generating planar surfaces and curves. CRITERIA DESIGN

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B.8. APPENDIX - ALGORITHMIC SKETCHES

FRACTAL GEOMETRY

POLYGON, EXTRUDE, EXPRESSION, WEAVERBIRD: MESH, THICKEN, CATMULLCLARK, LAPLACE ‘Inside Out, Outside In’

114

CRITERIA DESIGN

GRAPHING SECTION PROFILE

POINT CHARGE, SPIN FORCE, GRAPH MAPPER, FIELD LINE - PIPE - LOFT ‘Cluster 7’

CRITERIA DESIGN

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DATA STRUCTURE RELATIVE ITEMS ‘Build a Tree’

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B.9. BIBLIOGRAPHY Barkow, Frank, 2010, ‘Fabricating Design: A Revolution of Choice’, Architecture Design, 4, 80, 95101. Cooper, Carol, 1981, Aboriginal Australia: National Gallery of Victoria, Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery, 1981-1982 (Sydney: Australian Gallery Directors Council). Elias, Bradley, 2016, Composition/Generation, Architecture Design Studio: Air, Redmond Barry Latham Theater, Melbourne, 9 August, Lecture. Escobedo, Jessica, 2012. Double Agent White in Series of Prototypical Architectures/Theverymany, Evolo, 22 July, <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypicalarchitectures-theverymany/>[Accessed 15 August, 2016] Fleischmann, Moritz, Julian Lienhard & Achim Menges, 2011. ‘Computational Design Synthesis: Embedding Physical Properties in Computational Design Processes’, Cumincad, 759-767, <http:// papers.cumincad.org/cgi-bin/works/Show?ecaade2011_013> [accessed 29 August 2016] Fleischmann, Moritz with Jan Knippers and others, 2012, ‘Material Behaviour: Embedding Physical Properties in Computational Design Processes’, Architecture Design, 2, 82, 44-51. Fornes, Mark, 2016, ‘The Art of the Prototypical’, Architecture Design, 2, 86, 60-67. Fry, Tony, 2009, Design Futuring: Sustainability, Ethics and New Practice. (Oxford: Berg). Grozdanic, Lidija, 2012, Archipelago Parametrically Designed Pavilion, Evolo, 22 October, < http:// www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/> [Accessed 15 August, 2016] Mangelsdorf, Wolf, 2010, ‘Structuring Strategies for Complex Geometry’, Architecture Design, 4, 80, 40-45. Menges, Achim, 2012, ‘Material Computation: Higher Integration in Morphogenetic Design’, Architecture Design, 2, 82, 14-21. Moussavi, Farshid, 2006, The Function of Ornament (Barcelona: Actar). Schumacher, Patrik, 2009, ‘Parametric Patterns’, Architecture Design, 6, 79, 30-41. Sveiby, Karl-Erik, 2009, ‘Aboriginal Principles for Sustainable Development As Told in Traditional Law Stories’, Sustainable Development, 6, 17, 341-356. University of Stuttgart, 2010, ICD/ITKE Research Pavilion 2010, <http://icd.uni-stuttgart. de/?p=4458> [Accessed 15 August, 2016] Zaera-Polo, Alejandro, 2009, ‘Patterns Fabrics Prototypes Tessellations’, Architecture Design, 6, 79, 18-27.

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D E T A I L E D D E S I G N

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PROJECT PROPOSAL

C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPE It is hard to make a concept with out a clear understanding about how different system behave and the requirement of each. In this case, concept formation and prototyping process are conducted parallelly.

PROJECT PROPOSAL

119

DESIGN INTEGRATION: 3 PROTOTYPES FROM PART B CRITERIA DESIGN

Design as a continuation of the current 3 parallel system, the prototypes of our three group member CONNECTION STRUCTURE(C) and OUTER SKIN SURFACE(K) respectively S-SYSTEM: STRUCTURAL BASE

C-SYSTEM: ROTATABLE

PREVIOUS PROTOTYPE

Peiyi: Undulating strips intersecting with each other, can be rigid or flexible

Psyche: Structure that can open & close up and down when applying a rotating downward load

FEATURES

Flexiblity: Rigid v.s. Flexibly; Stay still v.s. Behave according to body movement

Change in shape, Extremely unstable, Variation by small changes and have unexpected result

REQUIREMENT Flow along body curve; Accommodate C-system; Rigid enough so that the shape AFTER INTEGRATION will not change when applying force on top, e.g. pressing

120

PROJECT PROPOSAL

Change in shape (open and close/up and down) when applying force; Act as connecting piece between S-system and K-system.

DESIGN CONSIDERATION

rs become the STRUCTURAL BASE(B), ROTATABLE

a d

K-SYSTEM: OUTER SKIN SURFACE

CORE CONSTRUCTION ELEMENTS: - Individual system: formation, rule and performance - Connection between systems MAJOR CHALLENGE DISCONTINUITY - Physical testing: each system requires certain level of physical testing in order to obtain the expected shape or effect and to deal with the connection details among three systems, which will result in discontinuity on grasshopper definition as constant changes in Rhino is necessary.

Momo: Cutting on surface with different spacing. When applying load different pattern tends to appear Self form generating system + Self supporting system + Variation on pattern

Flowing pattern across C structure, and to have changes on pattern when applying

- Conversion between 3D and 2D space: unroll is another issue during the developing process, therefore, some components in C system and K system requires seperate consideration for fabrication and digital model, for example the joint for C system. Apart from that, K system is actually developed in 2D space in the end due to the problem of unrolling a complex form, which makes the digital model containing all three systems unlikely to be produced.

PROJECT PROPOSAL

121

SELECT FEATURE FROM EACH SYSTEM

As mentioned in PART B criteria design case, if the garment can react based on S-SYSTEM: STRUCTURAL BASE Flexiblity: Rigid v.s. Flexibly; Stay still v.s. Behave according to body movement

PROTOTYPE 01

C-SYSTEM: ROTATABLE CONNECTION Change in shape + Mysterious structure: Unstable, lots of variations with little change on the structure, unexpected result

K-SYSTEM: OUTER SKIN SURFACE Self form generating system + Self supporting system + Variation on pattern

122

PROJECT PROPOSAL

Demonstrate the overall idea: integration of three system: 1) Parametric model for C-structure: - Shape formation - Rotation imitation - Add joints manually 2) Development of K-system: - Create random pattern on the surface with the intersecting area with C-structure trimmed out - Use bracing to control the overall shape 3) Connection between C and K: - Find the intersecting lines

1) -C us -F co be cu

2) -O te -G pa m

3) -S

4) -A re di

DESIGN PROPOSAL 01 A NATURAL GARMENT: Garment that can change based on body movement

n, the most natural influence to a piece of garment should be the movement from human body. In this n body movement, the idea of nature might be emphasized in design, which respond to Merri Creekâ&#x20AC;&#x2122;s issue about maintaining the natural environment

PROTOTYPE 02

ombine three systems directly

Parametric model for S-base: Create a simple shape around body sing undulating strips Fabrication details: slot and cable tie onnection for intersection; string to tie etween point of inflection to hold the urvature

Development of C-structure: Optimising object shape after physical esting Generate connection joints arametrically for fabrication and digital model

Connection between S and C: Stick C-structure onto S-base directly

Development of K-surface: Attempt to create cut line so that the esultant pattern can be different in ifferent area

PROTOTYPE 03s

Merge systems together instead of direct combination 1) Connection between S and C: - Mimic ICD/ITKE 2010: have wider area at the location where is going to accommodate C structure 2) Development on S-base: - Create narrower and wider zone on each strip to accommodate C structure - Fabrication details: standardized clips to link between point of inflection

MOVEMENT MECHANISM

Understand the force required to move C-structure: Downward + Horizontal from two opposite corners Select a media to transfer body movement to C-structure and change the force direction: Mouse Cable Pulley - Pulley - Closed Ring/Button - Pulley with Track - Straw - Fish Line

3) Development on C-structure: - Testing the changes on shape with different cutting angle at the joint between neighbouring strips Pattern testing for K-system: 01: As a continuation of C-structure: strips with cutting pattern connected between C-structures 02: More patterns tested which connected to different location on C-structure 03: One surface with cutting pattern connected with 3 C-structures to form rotational effect PROJECT PROPOSAL

123

IMITATE OVERALL SHAPE OF C-STRUCTURE IMITATE OVERALL SHAPE GENERATE THREE DODECAGONS SHARING SAME SIDES WITH DIFFERENT RADIUS

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

ALIGN DODECAGONS IN Z DIRECTION

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON PHYSICAL TESTING FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTR AND EDG EAC

EX SI FR ST

BOTTOM POINTS 1 BOTTOM DODECAGON

IMITATE ROTATING PHYSICAL EXPERIMENTATION TO IMITATE AN OUTWARDS FORCES IN ROTATING PROCESS RECORD DATA

CREATE VECTORS WITH AMPLITUDES BASED ON PREVIOUS DATA(64)

SET 1: FORM CENTRE TOWARDS VERTICES

MIDDLE DODECAGON

SET 2: -Z DIRECTION

TOP DODECAGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES. FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE MERGED VECTORS.

BOTTOM POINTS 2 MIDDLE POINTS 1 MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE VECTORS(SET 1). MOVE THE DIVIDED POINTS FROM THE TOP DODECAGON BY THE MERGED VECTORS.

MIDDLE POINT

TOP POINTS 1

TOP POINTS 2

IMITATE ROTATING PROCESS OF C-STRUCTUR

124

PROJECT PROPOSAL

RACT TOP D BOTTOM GES FROM CH STRIP

XTRACT ONE IDE EDGE ROM EACH TRIP

TS 2

PROTOTYPE 01 S-BASE C-STRUCTURE K-SURFACE

GENERATE NEW OFFSET CURVE PATTERN CREATE AN INNER CURVE AND AN OUTER CURVE

DIVIDE CURVES INTO POINTS

CREATE 3 DIFFERENT CIRCLES WITHIN A BIGGER CIRCLE

CONNECT BY LINES

OFFSET LINES

OFFSET EACH CURVE BY A SERIES OF VALUE

TRIM OUT INTERSECTING PARTS IN RHINO

TRIM OUT INTERSECTING OR UNNECESSARY PARTS IN RHINO

IN ORDER TO CREATE STRIPS WITH GRADUALLY CHANGING WIDTH

CREATE 3D JOINTS WITH C-STRUCTURE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

FIND THE INTERSECTION WITH THE A CIRCULAR SURFACE JOIN EACH STRIPS WITH ITS JOINTS

STRIP UNROLL: SUCCESSFUL, READY FOR FABRICATION

INTERSECTING BETWEEN CLIPS AND THE NEIGHBORING STIRPS CUT BY HAND FOR TESTING

UNROLL JOINTS: FAILED DUE TO THE LOCATION CHANGE OF JOINTS

ADD JOINTS ON RHINO AFTER UNROLL

UNROLL C-STRUCTURE GENERATE VERTICAL ARCHES FOR BOTTOM PT1, MIDDLE PT2, TOP PT2 GENERATE VERTICAL ARCHES FOR BOTTOM PT2, MIDDLE PT1, TOP PT1

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EVEN THOUGH THE TOP POINTS ARE MOVED AND ROTATED ACCORDING TO THE ACTUAL MEASURES, ONLY THE NEW SURFACES CAN BE CREATED IN PARAMETRIC ENVIRONMENT INSTEAD OF BENDING THE EXISTING SURFACES. THUS, THE IMITATED ROTATING PROCESS BECOMES UNNECESSARY.

PROJECT PROPOSAL

125

PROTOTYPE 01 OBJECTIVE: Briefly outline the design concept; Realize the connection between two system; As an extension of Part B prototype development for C and K system. DESCRIPTION: S: - Not applied, represented by a surface intersected with C C: - Realize previous prototype into parametric model: shape and joint - Connect with top and bottom surface K: - Intersect with C - Pattern formed by random cutting in Rhino -Bracing applied to control the shape in reality FUNCTION: - Help to understand the requirement of three individual systems, which facilitates further development. - Create a possible solution for the connection between skin surface and C-structure. ISSUE: - Discontinuity: lots of details done randomly by rhino instead of parametric modelling - Mobility: cannot move at all - C-system: joints on digital 3D model unable to be unrolled

BASE GEOMETRY FOR FORM GENERATION

ALIGN BASE GEOMETRY IN Z DIRECTION, AND DIVIDE INTO SERIES OF POINTS

GENERATE VERTICAL

MOVE POINTS AND GENERATE ANOTHER SET OF ARCHES

2 SETS OF ARCHES EACH AS ONE EDGE OF THE STRIPS

GENERATE STRIPS

126

PROJECT PROPOSAL

ASSEMBLING PROCESS

COMPONENTS AFTER LASER CUT ORIENT CLIPS JOINT TO STRIPS

LASER CUT TEMPLATE: 3 sets of structure each consists of 12 strips

CUT CREATED FOR CONNECTION

ARRANGE C-STRUCTURE STRIP IN GROUPS, AND READY FOR ASSEMBLING

JOIN INDIVIDUAL STRIPS WITH THEIR NEIGHBORING PIECES USING THE CLIPS JOINT AT THE SIDE

C-STRUCTURE

K-SURFACE S-BASE: HERE REPRESENTED BY A SURFACE

CONNECT C-STRUCTURE WITH THE TOP AND BOTTOM SURFACE USING CLIPS JOINTS ON TOP

PROJECT PROPOSAL

127

BASE GEOMETRY MEASURE THE BODY DIMENSION

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE

CONVERT DIMENSION INTO A SET OF ELLIPSES CREATE A SURFACE BASED ON THESE ELLIPSES

IN ORDER TO FORM THE 2 SETS OF NEIGHBORING AND INTERSECTING STRIPS

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

FIND THE CENTER OF EACH ELLIPSES

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

CREATE A SURFACE TOWARDS THE CENTER BASED ON THE LINE BETWEEN P1 AND P2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

FORM UNDULATING STRIPS CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

NOW THERE SHOULD BE TWO SETS OF INTERSECTING CURVES BASED ON THE PREVIOUS DIVISION OF POINTS

FABRICATION: CREATE HOLE AT THE POINT WHERE CURVATURE FIND THE LONGER EDGES OF EACH STRIPS

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE INTERSECT BETWEEN ORIGINAL CURVE AND THE NEW

FIND THE INTERSECTION BETWEEN STRIPS SELECT TWO NEIGHBORING STRIPS

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

FABRICATION: CREATE SLOT FOR INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135. The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

128

PROJECT PROPOSAL

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

GEN VER FRO MO ON POL

PROTOTYPE 02 ` S-BASE C-STRUCTURE K-SURFACE COMBINATION

E CHANGES ON STRIP

TION

W ONE

LOCATE THESE POINTS ON STRIP EDGES

NERATE RTICAL ARCHES OM A SET OF OVED POINTS, NE FROM EACH LYGON

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

CREATE CIRCLE AT THE MIDPOINT OF EACH LINE

FABRICATION & ASSEMBLING CREATE CURVATURE: COTTON STRING LINK BETWEEN POINT OF INFLECTION GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

FAIL: COTTON STRING IS ELASTIC, DIFFICULT TO TIE STRING ACCURATELY AT A CERTAIN DISTANCE

UNROLL, LASER CUT & ASSEMBLE INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION PLACE C SYSTEM ON S SYSTEM

LOCATE THE INTERSECTION

COMBINE S AND C SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

UNROLL STRIPS

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

RANDOMLY CUT THE INTERSECTION BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

FIND THE INTERSECTION WITH THE OTHER TWO SYSTEMS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

2D MANIPULATION FOR PSYCHEâ&#x20AC;&#x2122; S STRUCTURE JOINT CONNECTION

PROJECT PROPOSAL

129

P UNDULATING STRIPS + FABRICATION DETAILS + C-STRUCTURE

UNDULATING STRIPS + FABRICATION DETAILS

UNDULATING STRIPS + FABRICATION DETAILS + C-STRUCTURE + K-SURFACE

O t

D S s C in K c STRIP FORMATION PROCESS

BASE GEOMETRY

STRAIGHT LINES WITH SPACING OF STRIPâ&#x20AC;&#x2122;S WIDTH READY TO INTERSECT WITH BASE GEOMETRY

CURVES ON BASE GEOMETRY WITH STRIP WIDTH

UNDULATED CURV

CLIPS ORIENTATION ON 3D OBJECTS

STRIPS MODEL FROM PREVIOUS PROTOTYPE

130

PROJECT PROPOSAL

FORM A PLANE AT THE LOCATION FOR CLIPS

COPY CLIPS HEAD TO THE RIGHT LOCATION

ORIENT CLIPS HEAD TO RIGHT ANGLE

SAME PROCESS FOR THE BOTTOM AND SIDE

PROTOTYPE 02

OBJECTIVE: first time combining three systems together directly, dealing with connection, trying to let the C move and K correspondingly

DESCRIPTION: directly fix three system togetherâ&#x20AC;&#x201D;in Grasshopper: S: - Create undulating strip structure flowing along body curve; - Find the intersection between strips: cut hole at each strip in order to let cable tie pass through to secure the connection - Find point of inflection to realize the curvature after applying strings in between. C: - Have 2 sets of clips orient process: one for 2D unrolling, the other for 3D model generation and to ntersection with other systems - Intersect with S-base and K-surface K: - Apply K surface to differentiate the movement on the surface, so the areas of skin around each C components behave differently

VES

FABRICATION DETAILS

2 SETS OF CURVES UNDULATED IN OPPOSITE MANNER

UNDULATING STRIPS CONTROL CURVATURE: POINT OF INFLECTION

INTERSECTING WITH OTHER SYSTEMS

M INTERSECTING SLOTS AND HOLES FOR CABLE TIE PROJECT PROPOSAL

131

PROTOTYPE 02 FABRICATION

PROTOTYPE

RESULT & PROB

S-PROBLEM: Ca the cotton string be inelastic) use of inflection is a needs to be tied precisely(difficu

FABRICATION TEMPLATE

S-SOLUTION: 1 connect betwee easily; 2) Adjust based on the si the location wh connected

DIFFERE

PROTOTYPE

RESULT & PROB

K-PROBLEM: Ve TWO NEIGHBOURING STRIPS & FABRICATION DETAILS: POINT OF INFLECTION TO CONTROL CURVATURE SLOT AT INTERSECTION & HOLES FOR CABLE TIE CUT AT INTERSECTION WITH OTHER SYSTEMS

132

PROJECT PROPOSAL

K-SOLUTION: I connected to ea both the whole differently

BLEM & SOLUTION

UNABLE TO TIE THE STRUCTURE UP BY STRING

annot be assembled: g(which thought to ed to link two points actually elastic, and d at an exact location ult to do by hand)

1) Find a rigid way to en points of inflections t the width of the strips ize of C component at here C is going to be

ENT EFFECTS WHEN PRESSING

PROTOTYPE 02

RESULT & PROBLEM & SOLUTION C-PROBLEM: 1) Generate different pattern when compressing compared with the previous prototype; 2) Intersecting with S-base: S strips has a relatively unified width, but the C-structure have circular base, so intersection will be across different strips C-SOLUTION: Find out what results in the different movement pattern

BLEM & SOLUTION

ery difficult to create a surface that can be cut to behave differently on different sections.

Instead of a whole surface attached on to C, individual smaller strip surfaces will be ach strips of one C component at one side and to another on the other side; so that structure can move and the movement of C components can let the new K strips behave PROJECT PROPOSAL

133

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CUR BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

CREATE A SURFACE BASED ON THESE ELLIPSES

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P2: MOVE THE RESULTATNT POINTS LOWER THAN THE LOWEST POINTS

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

CREATE A TOWARDS CENTER BA THE LINE B P1 AND P2

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

FOR THE OTHER SET: VICE VERSA

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CUR

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CUR BASED ON THE CURVATURE OF THE EXISTING

CREATE VARIATION ON WIDTH

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER) SELECT TWO NEIGHBORING STRIPS

FIND THE INTERSECTION BETWEEN STRIPS CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DU INTERSECTIO

CREATE A SYS X, Y & Z axis as adjustment in t

FABRICATION: CREATE SLOT FO OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

GEN VERT FROM MOV ONE POLY

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

CREATE 3 POLYGONS

DIVIDE EACH INTO A LOOP OF POINTS

GENERA ARCHES OF POIN EACH PO

MOVE POINTS ALONG ADJUSTED VECTORS

TO GET STRIP 134

PROJECT PROPOSAL

RVE

PROTOTYPE 03.01

SURFACE S THE ASED ON BETWEEN 2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

S-BASE C-STRUCTURE K-SURFACE COMBINATION

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FABRICATION: CREATE CLIPS MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

RVATURE CHANGES ON STRIP

RVE

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LOCATE THESE POINTS ON STRIP EDGES

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THE MIDPOINT FOR EACH LINE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

FABRICATION & ASSEMBLING CREATE CURVATURE: CLIPS SYSTEM

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

UPLICATES AROUND EVERY ON: 2 ON EACH STRIP

STEM FOR ADJUSTMENT ALONG s different strips may need slight terms the location

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

NERATE TICAL ARCHES M A SET OF VED POINTS, E FROM EACH YGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

UNROLL STRIPS

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

PLACE C SYSTEM ON S SYSTEM

COMBINE S AND C SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

UNROLL, LASER CUT & ASSEMBLE

LOCATE THE INTERSECTION

OR INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE ROTATE THE SIDE JOINTS TO ENABLE ORIENT THE JOINT THE INTERSECTION COMPONENT TO BETWEEN 2 THOSE POINTS NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

ATE VERTICAL S FROM A SET NTS, ONE FROM OLYGON

NUMBER EACH CLIPS

GENERATE VERTICAL ARCHES FROM THE MOVED POINTS, ONE FROM EACH POLYGON

LASER CUT & ASSEMBLE

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

UNROLL SURFACE

DECONSTRUCT SURFACE INTO CURVE OUTLINE

ADD JOINT COMPONENT ON EACH EDGE CENTER

CREATE TESTING LINE PATTERN IN RHINO

CREATE STRIPâ&#x20AC;&#x2122;S PATTERN

TEST MOVEMENT AND EFFECT

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

ADD JOINTS

PS WITH OLIVARY SHAPE PROJECT PROPOSAL

135

PROTOTYPE 03.01 OBJECTIVE: deal with all problems from last prototype DESCRIPTION: S: Connection between point of inflection: after testing a lot of material for connection, it is found that the most important determinant to realize the curvature is the length between two successive points. Therefore, clips made of polypropylene, which are inelastic are used. S & C connection: Instead of having similar width on the whole strips, the part that is going to be connected with C components has been made wider to facilitate the connection. This idea has been proved and test first using circular surfaces in prototypes. Grasshopper definition has also been developed but due to the change on ideas, the parametric model has not been fabricated. K: Strips are connected to the top end of C-structureâ&#x20AC;&#x2122;s strips, which might be seen as a continuation of C. Cutting has also been made on top

S-BASE FORM GENERATION PROCESS: 00: ORIGINAL STRIPS FROM PROTOTYPE 02 01: EXTRACT THE EDGE 02: LOCATE THE POINT WHICH DETERMINE THE CURVATURE 03: SPLIT EDGE AT THESE POINTS, FURTHER DIVIDE POINTS AND MOVE EACH POINTS IN A GRADUALLY INCREASING/DECREASING VALUE

136

PROJECT PROPOSAL

04: GENERATE ARCH FROM THE LOWEST AND HIGHEST POINT 05: CREATE NEW SURFACE 06: TWO NEIGHBOURING SURFACE

PROTOTYPE 03.01

RESULT & FURTHER DEVELOPMENT S-RESULT: [Rigidity of ‘clips connection’] - When applying load that can make C-structure rotate, the base curvature will not be pressed to deform S-DEVELOPMENT: Generate clips for next prototype

PROJECT PROPOSAL

137

PROTOTYPE 03.01

RESULT & FURTHER DEVELOPMENT C-RESULT: [Connection with S] The connection is unexpectedly good in terms of its practicality and aesthetics. The connecting clips allow adjustment, so that the C can be attached onto any shape C-DEVELOPMENT: 1) Keep resolving the pattern problem from Prototype 2; 2) Scale existing structure: height and size

138

PROJECT PROPOSAL

PROTOTYPE 03.01

RESULT & FURTHER DEVELOPMENT K-RESULT: [Movement] - Interesting pattern is generated when rotating C as force is applied, but the length of each K strips should be prefigure in order to not restricting the movement K-DEVELOPMENT: Experiment with different cutting pattern

PROJECT PROPOSAL

139

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CUR BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

CREATE A SURFACE BASED ON THESE ELLIPSES

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

CREATE A TOWARDS CENTER BA THE LINE B P1 AND P2

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

FOR THE OTHER SET: VICE VERSA

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CUR

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CUR BASED ON THE CURVATURE OF THE EXISTING

CREATE VARIATION ON WIDTH

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER) SELECT TWO NEIGHBORING STRIPS

FIND THE INTERSECTION BETWEEN STRIPS CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DU INTERSECTIO

CREATE A SYS X, Y & Z axis as adjustment in t

FABRICATION: CREATE SLOT FOR OPTIMISING THE OVERALL SHAPE OF C-STRICTURE

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GEN VERT FROM MOV ONE POLY

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

TO GET STRIPS WITH OLIVARY SHAPE

CREATE 3 POLYGONS

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE EACH INTO A LOOP OF POINTS

MOVE POINTS ALONG ADJUSTED VECTORS

140

PROJECT PROPOSAL

GENERATE VERTICAL ARCHES FROM THE MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

INTERSECT WITH PLANAR SURFAC

UNROLL SURFACE

DECONSTRUCT SURFACE INTO CURVE OUTLINE

ADD JOINT COMPONENT ON EACH EDGE

CREATE TESTING LINE PATTERN IN RHINO

CREATE STRIP’S PAT

RVE

SURFACE S THE ASED ON BETWEEN 2

PROTOTYPE 03.02

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

S-BASE C-STRUCTURE K-SURFACE COMBINATION

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FABRICATION: CREATE CLIPS

RVATURE CHANGES ON STRIP

RVE

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

LOCATE THE MIDPOINT FOR EACH LINE

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

NUMBER EACH CLIPS

FABRICATION & ASSEMBLING CREATE CURVATURE: CLIPS SYSTEM

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

UNROLL, LASER CUT & ASSEMBLE

GROUP ALL FABRICATION DETAILS FOR EACH STRIPS EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

UPLICATES AROUND EVERY ON: 2 ON EACH STRIP

STEM FOR ADJUSTMENT ALONG s different strips may need slight terms the location

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

LOCATE THE INTERSECTION

R INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

PLACE C SYSTEM ON S SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

NERATE TICAL ARCHES M A SET OF VED POINTS, E FROM EACH YGON

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

UNROLL STRIPS

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

JOIN EACH STRIPS WITH ITS JOINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

COMBINE S AND C SYSTEM

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

LASER CUT & ASSEMBLE

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

GENERATE EXPENDING STRIPS PATTERN INTERSECT WITH A PLANAR SURFACE

HA CE

FIT A CIRCLE TO EACH SET OF INTERESTING CURVES

CREATE A RING LIKE STRUCTURE BY OFFSETTING CIRCLE

GENERATE LINES FROM CENTER TO A SET OF POINTS ON CIRCLE

ROTATE LINES TO GENERATE STRIPS

GENERATE SPACING BETWEEN STRIPS

OFFSET TESTING LINES

TTERN

DIVIDE LINES INTO POINTS

MOVE POINTS ALONG X-AXIS ACCORDING TO THEIR DISTANCE FROM THE MIDPOINT OF THE LINE

CREATE CURVE BASED ON THE MOVED POINTS

CHANGING STRIP’S PATTERN

LINK THE ENDS

GROUP NEW CURVES, JOINTS AND EXISTING LASER CUT CURVE FROM STRIP & ASSEMBLE SURFACE

MOVE POINTS ALONG BOTH X-AXIS & Y-AXIS ACCORDING TO THEIR DISTANCE FROM THE MIDPOINT OF THE LINE FURTHER EDIT IN RHINO

CHANGING STRIP’S OUTLINE SHAPE

PROJECT PROPOSAL

141

PROTOTYPE 03.02

K-SURFACE STRIP PATTERN Different cutting patterns have been produced to test the system: - Horizontal line - Radial line - Vertical line - Horizontal line with spacing Different strip shape has also been tried: - Oval shape - Bent form Joints are oriented to each strips for connection with other systems and between each other, which might generate interesting form

142

PROJECT PROPOSAL

PROTOTYPE 03.02

K-SURFACE STRIP PATTERN Instead of connected to C-structure directly, a ring like surface is produced to: 1) allow the connection happening at more locations around the C-structure 2) ease the connection process 3) have better aesthetics

PROTOTYPE 03.02

K-SURFACE STRIP FABRICATION During the fabrication process, one of the most important issue is the distance between 2 adjacent cuts. If two cuts are arranged with distance shorter than the capable spacing for laser cutting, material will be burned. However, if trying to match the distance, the resultant pattern will be different. Several changes had been made after sending template to Fablab, and most of them were done in Rhino, e.g. remove lines too close to each other

PROJECT PROPOSAL

143

PROTOTYPE 03.02: STRIPS CONNECTION POINTS TESTING OBJECTIVE: Testing possibility of K system

01 COULD BE REGARDED THE MOST SIMPLEST WAY OF STRIP CONNECTION. WE GAVE UP THIS ONE AS ITâ&#x20AC;&#x2122;S OVERALL PERFORMANCE WAS TOO

02 WOULD PUSH C AWAY FROM EACH OTHER AND THUS WOULD INFLUENCE THE ROTATE MOVEMENT.

WHEN ROTATING, THE STRIPS OF 03 WOULD FORM A CONTINUE CURVE WHICH CREATE A RELATIVELY CLEAR BUT FLUENT PATTERN.

04.1 IS AN INTERS OF CONNECTION ALLOW MOVEME

144

PROJECT PROPOSAL

SECTING WAY N, BUT IT STILL ENT.

Rotate Direction Connection Strips Strips Direction

Functionality(F): Allow C rotate smoothly Pattern Variation(P): how different the strip pattern would behavior when rotating Aesthetic(A): the generated pattern should still look harmony with C

04.2 IS THE SAME CONNECTION WAY OF 04.1, BUT CHANGE STRIPS’ DIRECTION FORM TOWARD INSIDER TO TOWARD OUTSIDE.

05 IS QUITE HARD TO ROTATE AND IT PULLS THE SURFACES UPWARD AS THE STRIPS ARE NO LONG ENOUGH FOR THIS CONNECTION WAY.

06 IS QUITE INTERESTING AS IT LOOKS LIKE THE STRIPS ARE PART OF THE SURFACES AND THERE’S NO ‘CONNECTION’ BETWEEN EACH SURFACES. PROJECT PROPOSAL

145

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CUR MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

CREATE A SURFACE BASED ON THESE ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

P2: MOVE THE RESULTANTS POINTS LOWER THAN THE LOWEST POINTS

CREATE A TOWARDS CENTER BA THE LINE B P1 AND P2

FIND THE CENTER OF EACH ELLIPSES

LOCATE THE MIDPOINT ON THE EDGES OF EACH COMPONENT

COMPONENT CONCAVE DOWN MOVE THE MIDPOINTS TO THE INSIDE ALONG THE SURFACE

SPLIT EACH STRIP AT THE PLACE BETWEEN CONCAVE UP AND DOWN: POINT OF INFLECTION

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

COMPONENT CONCAVE UP

FOR THE OTHER SET: VICE VERSA

FORM UNDULATING STRIPS

MOVE THE MIDPOINTS TO THE OUTSIDE ALONG THE SURFACE

CREATE AN ARC AMONG THE START POINT, END POINT AND THE NEW MIDPOINT

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

FABRICATION: LOCATE THE POINT WHERE CUR

JOIN ALL ARC INTO ONE CURVE

FIND THE LONGER EDGES OF EACH STRIPS

LOFT NEW SURFACE

PROJECT CURVES ONTO A PLANE

DIVIDE THE PLANAR CURVE INTO POINTS

FIND THE CURVATURE AT EACH POINT

CREATE A NEW CUR BASED ON THE CURVATURE OF THE EXISTING

CREATE VARIATION ON WIDTH

CONCAVING UP (WIDER); CONCAVING DOWN (NARROWER) FIND THE INTERSECTION BETWEEN STRIPS

SELECT TWO NEIGHBORING STRIPS

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DU INTERSECTIO

CREATE A SYS X, Y & Z axis as adjustment in t

FABRICATION: CREATE SLOT FOR OPTIMISING THE OVERALL SHAPE OF C-STRICTURE GENERATE 2 EDGES OF THE STRIP Optimising object shape THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

GEN VER FRO MO ON POL

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

CREATE INTERSECTING RINGS INTERSECT WITH A PLANAR SURFACE

FIT A CIRCLE TO EACH SET OF INTERESTING CURVES

OFFSET A SMALLER CIRCLE FOR EACH CURVE TO CREATE A RING

PATTERN GENERATION PROCESS FIND ONE OVERALL CENTER OF ALL CIRCULAR CURVES DIVIDE CIRCULAR CURVES INTO SETS OF POINTS

LINK EACH POINTS WITH THE COMMON CENTER

EXTRUDE CIRCLES AND MOVE THEM DOWNWARD

146

PROJECT PROPOSAL

CHANGE THE OVERALL SHAPE OF THE FIRST AND LAST CURVE IN EACH SET OF CONNECTING CURVES IN RHINO

REFERENCE BACK AND TWIN CURVES IN BETWEEN

TRIM OUT PARTS INSIDE THE EXTRUSION

FIRST AND LAST CURVE

ALL THE OTH CURVES

RVE

SURFACE S THE ASED ON BETWEEN 2

PROTOTYPE 03.03

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

S-BASE C-STRUCTURE K-SURFACE COMBINATION

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FABRICATION: CREATE CLIPS MEASURE THE DISTANCE BETWEEN MIDPOINTS ON EVERY STRIPS

RVATURE CHANGES ON STRIP

RVE

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

LOCATE THESE POINTS ON STRIP EDGES

LOCATE THE MIDPOINT FOR EACH LINE

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

FABRICATION & ASSEMBLING CREATE CURVATURE: CLIPS SYSTEM

CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT GROUP ALL FABRICATION DETAILS FOR EACH STRIPS

UPLICATES AROUND EVERY ON: 2 ON EACH STRIP

STEM FOR ADJUSTMENT ALONG s different strips may need slight terms the location

EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

UNROLL, LASER CUT & ASSEMBLE

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

LOCATE THE INTERSECTION

COMBINE S AND C SYSTEM

R INTERSECTION WITH HOLES TO PASS THROUGH CABLE TIE

PLACE C SYSTEM ON S SYSTEM

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

NERATE RTICAL ARCHES OM A SET OF OVED POINTS, NE FROM EACH LYGON

HER

NUMBER EACH CLIPS

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

UNROLL STRIPS

ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ORIENT THE JOINT COMPONENT TO THOSE POINTS

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

JOIN EACH STRIPS WITH ITS JOINTS

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

LASER CUT & ASSEMBLE

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

TRIM OUT SPACING

FOR EACH SET

CREATE A LIST WITHOUT THE ‘FIRST’ CURVE CREATE A LIST WITHOUT THE ‘LAST’ CURVE

FURTHER EDIT FOR FABRICATION

DATA MATCHING AND LOFT SURFACE

DELETE ALL THE NEIGHBORING SURFACES

EXTRACT THE EDGE OF EACH SURFACE

GROUP CURVES

SELECT SPACING AREAS THAT ARE LESS THAN 2MM

REDUCE CURVES DENSITY/CHANGE TO ETCH LAYER FOR LASER CUT

PROJECT PROPOSAL

LASER CUT AND ASSEMBLE

147

PROTOTYPE 03.03

K-SURFACE STRIP PATTERN Objective: Try to create a surface that across three C-Structures that can both let C move and form pattern

148

LOCATE THE CENTER

CREATE THE OVERALL SHAPE

TWIN CURVE

LOCATE THE CENTER

CREATE THE OVERALL SHAPE

TWIN CURVE

PROJECT PROPOSAL

Pattern Formation Process: Etch lines for lase cut Outline curve

E BETWEEN

ETCH LINES TOO CLOSE TO EACH OTHER

GENERATE RING AT THE OUTSIDE TO CONTROL MOVEMENT

E BETWEEN

CREATE CENTER RING

ETCH LINES TOO CLOSE TO EACH OTHER

PROJECT PROPOSAL

149

150

PROJECT PROPOSAL

PROTOTYPE 03.03

K-SURFACE STRIP PATTERN Trial 01: not successful When pulling downwards from the center, no pattern was formed and the movement of C-Structure is not ideal either. The possible reasons might be: 1) Pattern formation: No spacing between strips 2) Movement of C-Structure: When pulling, there is only force from the center. Another force is required at the opposite direction, which thought might be provided by the outer ring but not in reality.

PROJECT PROPOSAL

151

PROTOTYPE 03.03

K-SURFACE STRIP PATTERN

Trial 02: Successful When pulling downwards from two opposite points on the circular ring structure, the pattern can be observed with the ideal shape occurred on C-Structure

152

PROJECT PROPOSAL

153

MOVEMENT MECHANISM Description: 1) A system attached to S-Base to transfer body movement to other system and generate change on shape. 2) Force that can allow C-Structure rotate: A combination of a downward force and a horizontal force applied at the two opposite corners. 3) In this case, the system should have the ability to change the force direction

154

PROJECT PROPOSAL

MOVEMENT MECHANISM Test & Issue: 1) Pulley: change force direction-but string can slip out 2) Tube around pulley to secure the string and prevent it from slipping out 3) Straw fixed on to surface with the turning point rotate according to the direction of force—locate too many in total 4) Fish lines connected to each components and join together— aesthetic consideration; difficult to control/equalize the length of each part of the string or in another way the distance of each force, therefore, can’t achieve the effect wished Further Development: Control by hand manually instead of by body movement.

PROJECT PROPOSAL

155

SELECT FEATURE FROM EACH SYSTEM

S-SYSTEM: STRUCTURAL BASE Flexiblity: Rigid v.s. Flexibly; Stay still v.s. Behave according to body movement

‘BE AWARE

Due to movement mechanism’s unpleasan movement. In this case, more consideration characteristic of C-structure is noticed that is the

Moreov

PROTOTYPE 04

C-SYSTEM: ROTATABLE CONNECTION Change in shape + Mysterious structure: Unstable, lots of variations with little change on the structure, unexpected result

K-SYSTEM: OUTER SKIN SURFACE Self form generating system + Self supporting system + Variation on pattern

156

PROJECT PROPOSAL

Let the transition from S-Base to C-Structure become more organic: 1) Generation: After S-Base strips are generated and unrolled, splitting will then be process at the location where decide to combine with C-structure. The unrolled C-structure strips with then be connected with S-Base. 2) Fabrication: - Combined strips with cuts - Clips based on the distance between two adjacent points.

Alterna Still pr than in

1) 3D G made - Grap - Bioth - Arch

2) 2D G planar - Arch - Anem - Cont - Cont

DESIGN PROPOSAL 02

E OF THE DANGER’: A piece of garment that can raise the awareness of noticing danger around. ‘BEHAVE NATURALLY’: Let C-system behave differently when pressing #Aboriginal Art# and #Unstainability#

nt aesthetic, it is decided that the structure should better be press by force from outside rather than from body n needs to be made in order to let the new design proposal act respond to the brief. Firstly, another important instability, as it can behave very differently with only slight changes, which makes the result difficult to predict. This might be also find in natural environments where it is always difficult to predict dangers. ver, some site conditions from Merri Creek will also be addressed in design process, similarly to aboriginal arts.

PROTOTYPE 05

ative way to generate K-Surface: refer a continuous surface rather ndividual strips

PROTOTYPE 06

FINAL DESIGN

I-structure testing in order to better understand the structure and therefore create ideal effects in the final design: 1) Scale: All behave in the same manner. 2) Strip-Strip intersecting angle: The larger the angle the harder the structure can be pressed. 3) Top restrain from K-Surface: The smaller the restrain, the harder the structure can be pressed.

Overall form: 1) S-Base flowing along body curve

Generation: Unrolling pattern in 3D space ph mapper hing from 3 points in 3D space

2) C-Structure as a continuation from S-Base

Generation: Project pattern to r surface from 3 points in 2D space mone plugin tour and project tour and unroll

Fabrication

3) K-Surface: one continuous surface flowing across all C-Structures.

1) Combination strips merged S-base’s split pieces and half of C-structure with multiple types of cuts for installation: - Intersecting slots & holes for cable ties - Cuts for clips installation - Cuts to split long strips into multiple parts to enable laser cutting 2) Clips have been created but during the installation process, it is found that the curvature could also be realized with only the use of cable ties 3) Continuous K-Surface has to be split into multiple parts to enable fabrication PROJECT PROPOSAL

157

CREATE CONTINUOUS INTERSECTING LINES ALONG BODY CURVE BASE GEOMETRY MEASURE THE BODY DIMENSION

CONVERT DIMENSION INTO A SET OF ELLIPSES

CREATE A SURFACE BASED ON THESE ELLIPSES

DIVIDE THE HIGHEST CURVE INTO SAME 2 SETS OF POINTS

MODIFY ONE SET OF POINTS: REMOVE THE EVERY 2nd AND 3 POINT

P1: MOVE ALL POINTS OUTER THAN THE BIGGEST ELLIPSES

MODIFY THE OTHER SET OF POINTS: REMOVE THE EVERY 1st AND 4th POINT

P2: MOVE THE RESULTANT POINTS LOWER THAN THE LOWEST POINTS

CRE TOW CEN THE P1 A

FIND THE CENTER OF EACH ELLIPSES

UNROLL EACH STRIPS

GROUP ALL ELEMENTS FOR EACH STRIPS CREATE A HORIZONTAL LINE SEGMENT AT EACH MIDPOINT

PREPARING FOR FABRICATION

LOCATE TH MIDPOINT FOR EACH LINE

MEASURE THE DISTANCE BETWEEN MIDPOINTS O EVERY STRIPS

SPLIT THE STRIPS AT WHERE GOING TO CONNECT WITH C SYSTEM

CHANGE SPLIT STRIPS TO CURVES

OPTIMISING THE OVERALL SHAPE OF C-STRICTURE GENERATE 2 EDGES OF THE STRIP

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135. The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

158

PROJECT PROPOSAL

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

ADJUST SIZE AND LOCATION OF EDGES

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

GEN VERT FROM MOV ONE POLY

PROTOTYPE 04 S-BASE C-STRUCTURE K-SURFACE COMBINATION FORM UNDULATING STRIPS

EATE A SURFACE WARDS THE NTER BASED ON E LINE BETWEEN AND P2

FIND THE INTERSECTION BETWEEN THE BASE BODY SURFACE AND THE NEW SET OF SURFACES

DIVIDE EACH OF THESE CURVES BY 7 POINTS

FOR THE OTHER SET: VICE VERSA

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 0&1, 2&3...

INTERPOLATE CURVE THROUGH

CREATE STRIPS BETWEEN CURVES: 1&2, 3&...

ALTERNATING, UNDULATING INTERSECTING STRIPS

FABRICATION: CREATE HOLE AT THE POINT WHERE CURVATURE CHANGES ON STRIP FIND THE INTERSECTION BETWEEN STRIPS EXTRUDE ALL GEOMETRIES ALONG ONE DIRECTION

FIND THE INTERSECTION BETWEEN EXTRUSION AND STRIP

LINK BETWEEN EACH CORRESPONDING PAIRS OF POINTS

CREATE LINES ON A GRID SYSTEM BASED ON THESE LENGTHS

FOR ONE SET: MOVE THE ODD POINTS TO THE INSIDE, AND EVEN NUMBER TO THE OUTSIDE

CREATE A SYSTEM FOR ADJUSTMENT ALONG X, Y & Z axis as different strips may need slight adjustment in terms the location

FIND THE INTERSECTION BETWEEN ORIGINAL CURVE AND THE NEW ONE

LOCATE THESE POINTS ON STRIP EDGES

CREATE ANY GEOMETRY ALONG THE SURFACE AT EACH INTERSECTION

LOCATE 4 DUPLICATES AROUND EVERY INTERSECTION: 2 ON EACH STRIP

CREATE A NEW CURVE BASED ON THE CURVATURE OF THE EXISTING

FIND THE CURVATURE AT EACH POINT

DIVIDE THE PLANAR CURVE INTO POINTS

SELECT TWO NEIGHBORING STRIPS

FIND THE LONGER EDGES OF EACH STRIPS

PROJECT CURVES ONTO A PLANE

FABRICATION: LOCATE THE POINT WHERE CURVATURE CHANGES ON STRIP ORIENT THE CLIP HEAD AND BOTTOM ONTO THE START AND END OF EACH LINE

NUMBER EACH CLIPS

EXTRACT THE MIDPOINT OF CUTTING EDGES OF EACH SPLIT STRIP CURVE(S) AND ORIENT SCALED CURVE(C)

NERATE TICAL ARCHES M A SET OF VED POINTS, E FROM EACH YGON

CREATE CURVATURE: CLIPS SYSTEM

FABRICATION: CREATE CLIPS

JOIN TWO COMPONENTS TOGETHER

FABRICATION & ASSEMBLY TRIM THE EXTRA CURVES

COMBINE S AND C SYSTEM

INTERSECTION: SLOT TWO NEIGHBORING STRIPS, FIXED BY PASS CABLE TIE THROUGH THE 4 HOLES AROUND INTERSECTION

FABRICATION CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

UNROLL STRIPS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENTS TO THESE POINTS

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

ADD JOINT COMPONENT ON TO EACH EDGE CENTER ROTATE THE JOINT TO ALLOW IT FLOWING ALONG THE SAME DIRECTION OF STRIP SURFACE ROTATE THE SIDE ORIENT THE JOINT JOINTS TO ENABLE COMPONENT TO THE INTERSECTION THOSE POINTS BETWEEN 2 NEIGHBORING STRIPS.

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

SCALE ON XY PLANES

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

2D MANIPULATION FOR C-STRUCTURE JOINT CONNECTION

JOIN EACH STRIPS WITH ITS JOINTS

SCALE ON XY PLANES

SCALE FIND THE INTERSECTION BETWEEN THE SCALED 3D MODEL AND THE A SURFACE

PROJECT PROPOSAL

159

PROTOTYPE 04 OBJECTIVE: Find a new way to connect S and C more smoothly and fabricate clips from digital model DESCRIPTION: 1) Fabricate Clips: 00 Strips and fabrication details ready for next steps 01 Unroll 02 Measure the distance between points that determine the curvature 03 Generate lines based on the distance & Offset lines 04 Orient clips head and labelled 05 Replace holes for points by cut lines on the strips

160

PROJECT PROPOSAL

2 03

PROJECT PROPOSAL

161

UNROLLED STRIPS FROM S-BASE

PROTOTYPE 04 DESCRIPTION:

2) Try to combine S strip and C strip together as a continuous surface: After resolving all the fabrication details for S strips, strips are split at the location where would like to insert C-structure.

LOCATE WHERE C-STRUCTURE IS GOING TO BE PLAC

SPLIT STRIPS

162

PROJECT PROPOSAL

COMBINE TWO STRIPS TOGETHER

CED

TRIM OUT UNNECESSARY PART: FINAL TEMPLATE FOR CUTTING PROJECT PROPOSAL

163

WRONG: RESULT FROM UNROLLING

PROTOTYPE 04

FABRICATION: 1) Strips formed in both directions, some with front side(blue) at the outside, others with backside(grey)

CORRECT VERSION

164

PROJECT PROPOSAL

PROTOTYPE 04

FABRICATION: 2) Cut lines too close to each other: some strips were found to be broken after laser cut 3) Discontinuity in process, which cause problem for further assembly: lost cut lines or be placed at wrong location, etc. 4) Cut line created as 1.2 times the clips width, which is not enough: 1.5 times will be better

PROJECT PROPOSAL

165

PROTOTYP

C-STRUCTUR ISSUE & REA SOLUTION: Most structur

1) One possi to the C-Stru found in prev different patt compared wi prototype fro is due to the intersecting p and strips is n

And it is inte that when pu surface(repre with K-Surfac C-Structure, when pressin worth to ana restrain from behavior of C

PROTOTYPE 04

MODEL AND FABRICATION DETAILS Cable tie and Clips

166

PROJECT PROPOSAL

PE 04

RE MOVEMENTâ&#x20AC;&#x2122;S ASON & POSSIBLE

re cannot move

ible problem is due ucture itself. It is vious prototype that tern can be produced ith the very first om part B, and this e cut angle at the points between strip not still unknown.

eresting to notice utting circular ring esents the intersection ce) on top of the some starts moving ng. Therefore, it is alyze the influence of m top surface to the C-Structure.

PROTOTYPE 04

C-STRUCTURE MOVEMENTâ&#x20AC;&#x2122;S ISSUE & REASON & POSSIBLE SOLUTION: Most structure cannot move 2)In order to let the structure move, the new proposal needs to restore the previous circular shape as much as possible, which is a very compact form with bottom linked very closely to each other so that when pressing the structure will not spread apart. However, only 12 pieces out of 60 pieces of strips(total number around body) were fabricated for testing, which might not be enough to create a compact form: if more strips were created and link together, the base will be more stable, which make the movement becomes more possible.

Cable tie has been used to tie up the bottom of the C-Structure in order to mimic a compact form overall, and large structures are able to move in this situation

PROJECT PROPOSAL

167

PRO

GH METHODS CREATE 3 CIRCLE AT THE SAME HEIGHT

GRAPH MAPPER

INPUT INTERMEDIATE CONNECTION STRUCTURES 3D CURVATURE GENERATION:

DIVIDE 3 CIR INTO POINT

FIND A CEN THESE 3 CIR

CREATE CIRCLES AT THE TOP OF EACH STRUCTURE

USE THE CURVATURE FROM BIOTHING

‘BIOTHING’

UNROLLING

CREATE POIN ALONG THE C

REASON + CRITERIA FOR PRO 05 DEVELOPMENT

HAND PRESSING INSTEAD OF THE MOVEMENT MECHANISM

AN INTEGRATED SURFACE INSTEAD OF A CONTINUATION OF MIDDLE CONNECTION STRUCTURE NEW OPPORTUNITY FOR SKIN SURFACE

CREATE 3 DIVIDE POLYG POLYGONS AT EDGES INTO DIFFERENT HEIGHT SERIES OF POI

ARCH FROM 3 POINTS 3D TESTING: STRIP & CURVATURE GENERATION

CREATE 3 CIRCULAR CURVES AT THE SAME PLANE

ARCH FROM 3 POINTS 2D

SIMPLE BUT CREATE 3D POPUP UNDULATING FORM

DIVIDE CURVE INTO SERIES OF POINTS

C B L

2D STRIP GENERATION:

PROJECT TO PLANAR SURFACE

ANEMONE`

CREATE A SURFACE BASED ON SEVERAL CIRCLES AT DIFFERENT LEVELS WHICH REPRESENT THE INTERMEDIATE STRUCTURE

CONTOUR 2D

LOCATE SEVERAL INTERMEDIATE CONNECTION STRUCTURES RANDOMLY USING GRAPH MAPPER

SELECT FOR FINAL

LOCATE SEVERAL INTERMEDIATE CONNECTION STRUCTURES RANDOMLY USING GRAPH MAPPER LOFT TO GET A RINGLIKE SURFACE

CLOSE THE GAP BETWEEN STRIPS AND C-STRUCTURE REESTABLISH STRIPS AND JOIN WITH THE RING SURFACES

UNROLL AND LABEL ALL SURFACES

PROJECT PROPOSAL

FIN EAC

CLOSE STRIPS AT T

CONTOUR 3D

168

USE TO F ALO

REBUILD CURVES

ORGANIZE UNROLLED SURFACE IN ORDER AND AVOID OVERLAPPING

FI EA

CREATE CIRCLE SAME C

MERGE THE R WITH POINTS

INSTALL CLIPS STR TO THE SHORTER OF STRIPS

OCESS

RCLES TS

LINK ALL POINTS ON CIRCLE TO THE CENTER

NTER FOR RCLES

GENERATE SPIN FORCE FIELD AT EACH CIRCLE

USE GRAPH MAPPER TO TEST DIFFERENT PATTERN

MERGE FIELD AND GENERATE FIELD LINE

NT CHARGE CURVE

GON

SELECT POINTS PREFER TO BE USED FOR PATTERN GENERATION

RESULTANT PATTERN TOO COMPLEX FOR FABRICATION

RESULTANT PATTERN TOO COMPLEX FOR UNROLLING AND FABRICATION

BLOW UP THE STRUCTURE TO 3D FORM

CREATE ARCH FROM ONE POINT FROM EACH POLYGON

SELECT POINTS PREFER TO BE USED FOR PATTERN GENERATION

INTS

PROTOTYPE 05

FABRICATION

CREATE ARCH FROM ONE POINT FROM EACH CIRCLE

GENERATE SURFACE BETWEEN THE NEIGHBORING ARCHES

MERGE STRIPS SURFACE WITH SURFACE GENERATE FROM POLYGON

REMOVE THE ODD NUMBERED SURFACE TO CREATE SPACING

TRIM OUT THE PART INTERSECT WITH RING SURFACE

UNROLL: FAILED

SPLIT THE OUTER EDGE OF THE RING SURFACE FOLLOWING THE INTERSECTION

REMOVE ALL THE UNNECESSARY LINE AT THE CONNECTION BETWEEN RING SURFACE AND THE STRIPS

CREATE A RING SURFACE BASED ON EACH CIRCLE FOR LATTER CONNECTION

E ANEMONE PLUGIN FLOW CURVE ONG THE SURFACE

PROJECT ALL RESULTANT CURVE TO A PLANAR SURFACE

ND THE CENTER OF CH STRUCTURE

CREATE A RAGGED SURFACE ON TOP OF THESE POINTS

THE END

FORM LONGER EDGES OF STRIPS WITH SPACING ALWAYS LARGER THAN 2MM

IND THE CENTER OF ACH STRUCTURE

E SMALLER SHARING THE CENTER

REMAINING POINTS S FROM CIRCLE

RUCTURE R EDGE

PATTERN TOO COMPLICATE UNABLE TO FABRICATE

CONTOUR THE SURFACE

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

INTERPOLATE CURVE PASSING THROUGH THE TWO ENDS OF THESE LINES

CREATE A RAGGED SURFACE ON TOP OF THESE POINTS

REMOVE ALL LINES SHORTER THAN 2MM

FIND THE INTERSECTION BETWEEN STRUCTURES AND PATCHED SURFACE

PROJECT ALL THESE STRIPS TO A PLANAR SURFACE

EXTRACT THE EDGE OF THESE STRIPS

CREATE DENSE LINES BETWEEN NEIGHBORING STRIP EDGES

GENERATE A CIRCULAR CURVE BASED ON THE SIZE AND LOCATION OF EACH SET OF INTERSECTING LINES

LASER CUT RESTRICTION

EXTRUDE THE CURVE AND MOVE TO PASS THROUGH THE SURFACE

REMOVE THE INTERSECTING AREA

CONTOUR THE SURFACE

DIVIDE CIRCLE INTO POINTS REMOVE POINTS CLOSE TO THE CIRCLE

DIVIDE CURVES INTO POINTS

ALLOCATE TWO LONGER EDGES OF EACH STRIPS INTO TWO SEPARATE GROUPS ACCORDING TO WHICH SIDE THEY ARE

NOT PRACTICAL FOR FABRICATION

FIND THE CLOSEST STRIPS AROUND THE CURVE FROM THE TOP OF INTERMEDIATE STRUCTURE

BRACING MANUALLY IN RHINO ADD BRACING TO MAINTAIN THE IDEAL SHAPE IN REALITY

EDIT ON PLANAR SURFACE CANNOT WORK

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

PROJECT BACK TO RAGGED 3D SURFACE

PROJECT TWO SET OF CONTOURING SURFACE TO PLANAR SURFACE

TWO SET OF CONTOUR SURFACE CANNOT INTERSECT

EXTRUDE THE CONTOUR LINES TO STRIP-LIKE SURFACES

CONTOUR THE SURFACE FROM A DIFFERENT DIRECTION

BRACING METHODS

PROJECT PROPOSAL

169

PROTOTYPE 05

Continuity Pattern(C): The pattern is able to connect Fabrication(F): Considering the fabrication process: c Aesthetic(A): the generated pattern should still look h

5.01-5.03a Method: 3D Generation--> Unroll Result: Unable to fabricate. 5.01 Graph Mapper

5.02 Biothing Fielda

5.03a Arch From 3 Points 3

C F A

Adv: Easy to create crazy complicate 3D curvature shapes

Adv: 02 could generate a very natural folding form of pattern, which is good to show the folding direction of pattern would influenced by Psycheâ&#x20AC;&#x2122;s cone --> better merge.

Dis: Unable to unroll the surface/ fabricate

Dis: Hard to control how the pattern would generate/achieve desired direction of the curves.

170

PROJECT PROPOSAL

Adv: Further developed from Proto 03.03, could generate similar curv connecting strips, by using Gh inste Rhino manually. Further more, inste creating the pattern on a 2D flat su this method allow us to control mo surface to desired 3D form.

Dis: Fail to unroll the intersecting ring strips together.

psyche’s structure as a whole could be unroll; no intersecting curve; the pattern’s spacing need to be contorlable/ larger than 1mm harmony with C and bettern to keep it simple

otype vature ead of ead of urface, omo’s

g and

5.03b-5.05a Method: Back to 2D/ Project Result: Independent assessment.

Adv: Advantage Dis: Disadvantage

As shown in the previous methods, it’s not practical to unroll the curvature strips as a whole surface due to multiple curvature directions. Solve fabrication problem of 3D generation method: back to 2D; Project

5.03b Arch From 3 Points 2D

5.04 Anemone

C F A

Adv: 03.b is still able to generate similar curvature connecting strips and able to fabricate.

Adv: 04 could generate a pattern that map the locus of points falling down from a surface; No intersecting curves after project.

Dis: Take time to: 1.adjust the curve to avoid curve intersecting; 2. achieve ascetic requirement; 3. can only make strips for 2 Psyche’s cones at once.

Dis: The pattern lack of connection to I; Need a lot manually edition in Rhino as the curve’s spacing are very uneven and some of them are too close to each other( less than 1mm, not able to be laser cut).

PROJECT PROPOSAL

171

PROTOTYPE 05 Continuity Pattern(C): The pattern is able to connect psyche’s structure as a whole Fabrication(F): Considering the fabrication process: could be unroll; no intersecting curve; the pattern’s spacing need to be controllable/ larger than 1mm Aesthetic(A): the generated pattern should still look harmony with C and better to keep it simple

5.05a Method: Contour --> Project Result: The most practical method. 5.05a Contour 2D C F A

New Idea Generation: Back to prototype & precedent Inspired by the precedent Wooden Wave, the more undulating the surface is , the more dense the pattern woul be--> Visually show/illustrate the change of high of the surface--> Similar effect as topography--> New Idea: using 2D curves to show 3D effect visually, pushing the system’s capacity to close up the transformatio gap between 2D to 3D. --> Contouring the patch surface generated by random size & location of I.

Adv: 1. Could be able to generate a continuity pattern for lots of Psyche’s cone and more efficient; 2. N intersecting curves and the spacing between curves are controllable; 3. Create visual illusion based on I.

Dis/Further development: 1. Need lots of testing to achieve desired flowing pattern; 2. Need addition bracin to ensure no strips falling down due to no support underneath.

1. Move & Scale I

2. Patch Surface

3. Contour

4. Project

172

PROJECT PROPOSAL

Adv: Advantage Dis: Disadvantage

5.05b Method: Contour --> Unroll Result: Not practical for fabrication. d

5.05b Contour 3D C F A

While we were developing 5.1 Contour 2D, we found that each single strips could be unrolled. Thus, we thought it worth trying if we can make this method work from 3D to 2D, so that fully rebuild the 3D digital model in reality. Mainly focusing on solving: how to connect Psyche’s structure with each intersecting strips & fabrication issues. Experiment 1: [Close the gap between strips and I] Feedback & Issue: the strips can not be unrolled with the circle together. Thus, we decided just unroll the strips and put clips to both end of each strips: use clips to connect with Psyche’s circle instead of unroll them together.A

Experiment 2: [Fabrication] –Unroll & Orient clips Feedback & Issue: As many strips are cut by angles, this GH script doesn’t work very well: need manually rotate a lot of them in Rhino. As in the future, the amount of strips will be much more for the whole garment. Thus, this method would not be practical. Furthermore, Use clips to connect each strips and psyche’s structure would require much more time to install and probably not look good. Thus, we abandoned this idea.

Experiment 1: [Close the gap between strips and Psyche’s structure]

1. Strips go through C

2. Trim out strips: Gaps appear Experiment 2: [Fabrication] –Unroll & Orient clips

3. Rebuild the strips to connect the ring Bracing PROJECT PROPOSAL

173

PROTOTYPE 05 5.05a Contour 2D FURTHER EDIT FOR FABRICATION

GROUP CURVES

REDUCE CURVES DENSITY/ CHANGE TO ETCH LAYER FOR LASER CUT

174

PROJECT PROPOSAL

SELECT SPACING AREAS THAT ARE LESS THAN 2MM

LASER CUT AND ASSEMBLE

PROJECT PROPOSAL

175

GENERATE THE OVERALL SHAPE OF C-STRICTURE

GENERATE 2 EDGES OF TH

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18.

MEASURING IN PHYSICAL ENVIRONMENT

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGESâ&#x20AC;&#x2122; LENGTH

ADJUST SIZE AND LOCATION OF EDGES

The length of the top edge(30.41), bottom edge(24.20), and the shortest width(7.24) part of unrolled surfaces

TESTING 01 SCALE JOINT ANGLE PHYSICAL TESTING: THE LOCATION AND ACUTE ANGLE(CUT LINE AND THE TOP AND BOTTOM EDGE) OF INTERSECTION BETWEEN STRIPS

PRODUCE SERIES OF PROTOTYPES WITH DIFFERENT DATA

OPTIMISED DATA: Angle = 74.08221; X=3.4: Y=

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

UNROLL STRIPS

EXTRACT ONE SIDE EDGE FROM EACH STRIP

LOCATE POINTS IDEAL FOR CONNECTION

EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP EXTRACT TOP AND BOTTOM EDGES FROM EACH STRIP

EXTRACT ONE SIDE EDGE FROM EACH STRIP

ADD JOINT COMPONENTS TO THESE POINTS

C I J N

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

ROTATE THE JO ALLOW IT FLOW ALONG THE SAM DIRECTION OF S SURFACE RO ORIENT THE JOINT JO COMPONENT TO TH THOSE POINTS BE NE

ADD JOINT COMPONENT ON TO EACH EDGE CENTER

LOCATE POINTS IDEAL FOR CONNECTION

2D MANIPULATION FOR C-STRUCTURE JOINT CONN

176

PROJECT PROPOSAL

PROTOTYPE 06

HE STRIP

GENERATE VERTICAL ARCHES FROM A SET OF MOVED POINTS, ONE FROM EACH POLYGON

LOFT INSIDE 2 SETS OF ARCHES IN PAIRS

CREATE A PLANAR SURFACE ON TOP OF THE STRUCTURE

=9.5

MOVE THE PLANAR SURFACE TO ALLOW INTERSECTION

FIND THE INTERSECTING LINE AND SCALE TO 1.5 TIME AS CUT LINE

MOVE THE SURFACE IN Z DIRECTION TO GET 5 GROUPS OF INTERSECTING LINES

TESTING 03 TOP SURFACE RESTRAIN

CREATE A CUT TO INTERSECT BETWEEN JOINTS AND ITS NEIGHBORING STRIP

OINT TO WING ME STRIP

OTATE THE SIDE OINTS TO ENABLE HE INTERSECTION ETWEEN 2 EIGHBORING STRIPS.

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES

SCALE ON XY PLANES

TESTING 02 SCALE

JOIN EACH STRIPS WITH ITS JOINTS

SCALE ON XY PLANES

NECTION

PROJECT PROPOSAL

177

PROTOTYPE 06 OBJECTIVE: understand what factors affect on the behavior of C-structure

ANGLE

DESCRIPTION: 1) Angle: Different angle at the joints where strip and strip are connected to each other has also been tried. The larger the angle the harder the structure can be pressed.

SCALE 2) Scale: Structures with 5 different scales are produced, and all behave in the same manner. And the results from 2D scaling(scale the unrolled strips) and 3D scaling(scale the digital model) are also the same

TOP RESTRAIN 3) Top restrain: K-Surface is another important determinant for the behaviour of C-connection as it can restrain the movement. Through experimentation, it is found that the smaller the restrain, the harder the structure can be pressed.

178

PROJECT PROPOSAL

179

FOR NEXT PAGE’S LINE DIAGRAM: S-BASE: BLUE 01: BASE GEOMETRY 02: CREATE CONTINUOUS INTERSECTING LINES ALONG BODY/GARMENT CURVE 03: FORM UNDULATING STRIPS 04: ADJUSTING THE SIDE AND ORDER OF STRIPS 05: FIND THE LOCATION WHERE DETERMINE THE CURVATURE 06: GENERATE CUT LINES 07: CREATE CLIPS & FIND THE INTERSECTION BETWEEN CLIPS AND STRIPS 08: CREATE INTERSECTION AND THE HOLE TO PASS THROUGH CABLE TIE

C-STRUCTURE: GREEN 01: ADJUST THE SIZE AND LOCATION OF C-STRUCTURE ACCORDING PHYSICAL MODEL 02: 2D MANIPULATION FOR JOINT CONNECTION AND FABRICATION 03: CREATE 3D JOINTS TO INTERSECT WITH OTHER TWO SYSTEM 04: RETRIEVE POINT LOCATION AND HEIGHT FROM MAP 05: SCALE POINTS CORRESPONDING TO HUMAN BODY SCALE 06: EVALUATED SCALED 2D POINTS TO 3D HUMAN BODY MESH 07: REMAP THE CORRESPONDED HEIGHTS OF POINTS AND DIVIDE THEM WITH REAL HEIGHT OF C-STRUCTURE TO CREATE SCALED FACTORS 08: ORIENT C-STRUCTURE INTO THE LOCATION OF EVALUATED POINT WITH RELATIVE SCALED FACTORS AND CULL THE OVERLAID AND THE OVER SCALED ONES

K-SKIN: PINK 01: GET THE RELATIVE LOCATION OF C-STRUCTURE 02: REDRAW THE CIRCLE OF C-STRUCTURE 03: PATCH SURFACE AND CONTOUR 04: FABRICATION EDITION 05: FIX 01 06: FIX 02 COMBINATION: YELLOW 01: DATA LIST FOR FINAL PATTERN 02: FIND THE INTERSECTION TWO SYSTEMS 03: SPLIT BASE STRIP AND COMBINE WITH UNROLLED C-STURCTURE’S STRIPS 04: FABRICATION & ASSEMBLY 05: ADJUSTMENT

180

PROJECT PROPOSAL

C.3. FINAL DETAILED MODEL

PROJECT PROPOSAL

181

JOIN THE MESH TO MAKE SURE IT IS A SINGLE MESH SURFACE FIND A BASE MESH WITH FEMALE BODY SHAPE

SPLIT THE MESH AND SAVE THE TOP PART ONLY CREATE A CIRCLE ON TOP OF THE MESH

BASE MESH FOR LATER PATTERN GENERATION

MAKE SURE THE CIRCLE IS BIGGER THAN THE WIDEST PART OF THE MESH

DIVIDE THE CIRCLE INTO POINTS

MODIFY ONE SET OF POINTS(S1): REMOVE THE EVERY 2nd AND 3 POINT

FOR POINTS AT THE AND THE BACK OF MESH

MODIFY THE OTHER SET OF POINTS(S2): REMOVE THE EVERY 1st AND 4th

FOR POINTS AT THE SIDES OF THE MESH

JOIN THE MESH TO MAKE SURE IT IS A SINGLE MESH SURFACE CREATE A MESH SURFACE FOR THE DRESS BASED ON MEASURED BODY DIMENSION

STRIPS READY TO BE UNROLLED

CREATE A CIRCLE ON TOP OF THE MESH

EXTRACT THE TWO LONGER EDGES OF EACH STRIPS

LOCATE THE MIDPOINT ON EACH LINE

LINK THESE POINTS IN PAIRS ON EACH STRIPS

DIVIDE THE CIRCLE INTO POINTS

MODIFY ONE SET OF POINTS(S1): REMOVE THE EVERY 2nd AND 3 POINT

CR CU

ALTERNATING, UNDULATING INTERSECTING STRIPS

CREATE ANOTHER SET OF LINES AT THE MIDPOINTS 1.5 TIMES SHORTER THAN THE CUT LINES CREATED BEFORE

CREATE CUT LINES NARROWER THAN THE WIDTH OF THE STRIP AT EACH MIDPOINT

DUPLICATE FROM WAI

MODIFY THE OTHER SET OF POINTS(S2): REMOVE THE EVERY 1st AND 4th POINT

ADJUST DATA STRUCTURE TO LET ALL STRIPS HAVE THE SAME SIDE FACING THE OUTSIDE: BAKING AND SHOWING THE FRONT AND BACK USING DIFFERENT COLOURS IN RHINO

ADJUST DATA STRUCTURE TO COMBINE DIFFERENT SETS OF STRIPS INTO ONE LIST WITH THE RIGHT ORDER AROUND BODY

CREATE TWO LINES PARALLEL AND CLOSE TO THE TWO SHORTER EDGES RESPECTIVELY OF THE EACH STRIP

LOCATE THE POINT OF INFLECTION OF EACH EDGE CURVE

MAKE SURE THE CIRCLE IS BIGGER THAN THE WIDEST PART OF THE MESH

CR CU

ON EACH STRIP, USE QUADRANGULAR SURFACE TO LINK BETWEEN TWO SUCCESSIVE CUT LINES

PHYSICAL TESTING: RELATIONSHIP BETWEEN THE CLIP’S WIDTH AND CUT LINE LENGTH: 1.5 TIMES

ALL THE CUT LINES ON 3D MODEL READY FOR

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH TH

FIND THE INTERSECTION BETWEEN NEIGHBORING STRIPS

UNDULATING STRIPS

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS

FIND THE INTERSECTION BETWEEN SCALED PATTERN STRUCTURE AND THE STRIPS

01 A LIST OF SCALED PATTERN STRUCTURE CREATE A CYLINDER SURFACE AROUND THE BASE MESH UNROLL THE SURFACE TO XY PLANE RETRIEVE MERRI CREEK REGION FROM ‘OPEN STREET MAPS’

GET THE LONGITUDE AND LATITUDE FOR THE MAP

THE RADIUS AT THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 53.41, 14, 31.18. MEASURING IN PHYSICAL ENVIRONMENT

LOCATE ON XY PLANE AS POINTS

FIND ALL LOCATIONS AND SITES RELATED TO ENVIRONMENTAL ISSUES, E.G. FACTORY... USING ELK PLUGIN RETRIEVE THE TOPOGRAPHY OF MERRI CREEK FROM SRTM DATA BASE

GENERATE THREE DODECAGONS SHARING SAME SIDES WITH THE MEASURED RADIUS

THE RELATIVE DISTANCE BETWEEN THE TOP, MIDDLE & BOTTOM OF THE STRUCTURE: 0, -35, -135.

REFERENCE ALL POINTS TO THEIR RIGHT HEIGHT IN REALITY

GENERATE A SURFACE BASED ON THE TOPOGRAPHY USING ELK

ALIGN DODECAGONS IN Z DIRECTION

DIVIDE THREE DODECAGONS INTO POINTS BASED ON THE NUMBER OF SIDES

SCALE POINTS TO FIT ONTO THE UNROLLED SURFACE

MOVE POINTS WITH THEIR SCALED HEIGHT TO SURFACE

ADJUS RELATIV LOCAT SLIGHT

PHYSICAL TESTING: THE LOCATION AND ACUTE ANGLE(CU THE TOP AND BOTTOM EDGE) OF INTERSECTION BETWEEN

GENERATE VERTICAL ARCHES FROM A SET OF POINTS, ONE FROM EACH POLYGON

ADJUST SIZE AND LOCATION OF EDGES

FIND THE VECTORS FROM THE CENTRE OF EACH POLYGON TO THEIR VERTICES.

ROTATE THESE VECTORS BY 79.89 DEGREE

MOVE THE DIVIDED POINTS BY THE ROTATED VECTORS RESPECTIVELY WITH THE DISTANCE OF 1.1XPOLYGON EDGES’ LENGTH

GENERATE VERTICAL ARC FROM A SET O MOVED POINT ONE FROM EA POLYGON

THE LENGTH OF THE TOP EDGE(30.41), BOTTOM EDGE(24.20), AND THE SHORTEST WIDTH(7.24) PART OF UNROLLED SURFACES

01 GENERATE A CIRCLE ALONG THE OUTER EDGE OF EACH STRUCTURE

PROJECT POINTS ON EACH CIRCLE AND THE CENTER TO THE CYLINDER SURFACE

PATCH A SURFACE ON TOP

03 182

PROJECT PROPOSAL

ORIENT THE CONNECTING PIECE TO EACH CENTER

UNROLL THE SURFACE WITH ALL THE POINTS

CALCULATE THE DIAMETER OF EACH CIRCLE

CREATE CONTOUR LINES ON SURFACE

FIND A SCALE FACTOR THROUGH DIVISION WITH THE DIAMETER OF THE ORIGINAL STRUCTURE

ADJUST PATTERNS FORMED BY CONTOUR LINES

ADJUST THE CONTOUR LINE DIRECTION

PROJECT THE CONTOUR LINES TO A PLANAR SURFACE

HEIGHT AND SHAPE OF THE SURFACE

SCALE THE SIZE AND HEIGHT OF CONNECTING PIECE

TRIM OUT LINES TOO CLOSE TO EAC OTHER BASED ON THE SHORTEST POSSIBLE DISTANCE BETWEEN TWO

PROJECT POINTS ONTO THE BASE MESH SURFACE

DUPLICATE POINTS ALL ALONG THE MESH FROM NECK TO WAIST

E FRONT F THE

INTERPOLATE CURVES VERTICALLY

DIVIDE CURVES AGAIN

FINAL 01

DUPLICATE POINTS ALONG THE MESH BUT LEAVE A GAP AT THE SLEEVE TO ALLOW ARM PASS THROUGH WHEN WEARING

E TWO H

PROJECT POINTS ONTO THE BASE MESH SURFACE

E POINTS ALL ALONG THE MESH IST TO GROUND INTERPOLATE CURVE THROUGH

FOR S1: MOVE THE ODD POINTS ALONG POSITIVE X DIRECTION, AND EVEN NUMBER TO THE NEGATIVE X DIRECTION

FIND A PLANE AT EACH POINT RELATIVE TO THE BASE MESH SURFACE

REATE STRIPS BETWEEN URVES: 1&2, 3&...

INTERPOLATE CURVE THROUGH

FOR S2: MOVE THE ODD POINTS ALONG NEGATIVE X DIRECTION, AND EVEN NUMBER TO THE POSITIVE X DIRECTION

SPLIT POINTS ON EACH CURVE BASED ON ODD AND EVEN NUMBER

ORIENT INDIVIDUAL SURFACES TO VERTICES OF A LABELLED GRID

ORIENT THE CLIP’S HEAD TO THE END OF EACH QUADRANGULAR SURFACE(CLIP’S BODY)

TOO MANY CLIPS AND LOST SOME

05 CABLE TIE

GROUP THE CLIP’S HEAD WITH THE TWO SIDE EDGES OF THE CLIP’S BODY

SCALE THE CLIP’S HEAD TO MATCH THE WIDTH OF CLIP’S END

ASSEMBLE

LASER CUT

CUT LINE FOR CLIPS, CLIPS STRIPS INTERSECTION

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

FIND THE INTERSECTION BETWEEN ORIGINAL STRIPS AND THE CLIPS BODY

UNROLL STRIPS WITH CURVES

DATA STRUCTURE ADJUSTMENT TO HAVE A LIST MATCH WITH THE ORIGINAL STRIPS: REFERENCE BACK THE CUT LINES TO ORIGINAL STIRPS

R UNROLLING

CLIPS NOT NECESSARY FOR MAINTAINING THE CURVATURE...

REATE STRIPS BETWEEN URVES: 0&1, 2&3...

LASER CUT

STRIP STRIP INTERSECTION

CREATE 2 HOLES AT THE CENTER OF EACH LINE ONE ABOVE AND ONE BELOW

STRIPS WITH PATTERN STRUCTURE, INTERSECTING SLOTS, CUT LINES FOR CLIPS

REMOVE ALL LINE ON EVEN STRIPS

HE ORIGINAL STRIPS: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

S: REFERENCE BACK THE INTERSECTING LINES TO ORIGINAL STIRPS

ST THE VE TION TLY

UT LINE AND N STRIPS

CHES OF TS, ACH

LINK BETWEEN THE THESE POINTS AND THEIR CLOSEST POINTS ON THE MESH

SPLIT THE UNROLLED STRIPS AND MOVE AWAY FROM EACH OTHER

MOVE AND ALIGN COMPONENTS OF CORRESPONDING PATTERN STRUCTURE TO THE STRUCTURE SPLIT EDGE

03 EVALUATE THE POINTS TO THE CYLINDER AROUND BASE MESH

MAKE SURE EVERY INTERESTING LINE CUTS THROUGH THE STRIP HORIZONTALLY

INTERSECTION WITH PATTERN STRUCTURE

SCALING FACTOR: REMAP THE LENGTH FROM 0 TO 1

SCALE THE STRUCTURE ROTATE THE AND ORIENT TO CYLINDER SURFACE CORRESPONDING TO ADJUST PATTERN FRAME

CREATE PERPENDICULAR FRAMES AT THE END OF THE CONNECTING LINE

LOCATE POINTS IDEAL FOR CONNECTION

ORIENT THE JOINT COMPONENT TO THOSE POINTS

CREATE 3D MODEL TO INTERSECT WITH OTHER SYSTEM

03 CONNECTION WITH SURFACE SKIN: CREATE ONE CIRCLE INSIDE ALL INTERSECTING LINES AND ONE AT THE OUTSIDE

FIND THE INTERSECTING LINES

ROTATE THE SIDE JOINTS TO ENABLE THE INTERSECTION BETWEEN 2 NEIGHBORING STRIPS.

MOVE THE SURFACE TO ALLOW INTERSECTION

DIFFERENT LOCATION OF THE PATTERNS IN REALITY COMPARED WITH THE DIGITAL MODEL

DELETE THE OVERLAID AND OVERSCALED STRUCTURES

07 08

PRODUCE SERIES OF PROTOTYPES OPTIMISED DATA: Angle = 74.08221; X=3.4: Y=9.5 WITH DIFFERENT DATA ADD JOINT LOCATE POINTS IDEAL EXTRACT ONE CREATE A CUT COMPONENT TO FOR CONNECTION SIDE EDGE TO INTERSECT THESE POINTS UNROLL FROM EACH BETWEEN STRIPS STRIP JOINTS AND ITS ADD JOINT EXTRACT TOP AND NEIGHBORING STRIP COMPONENT ON BOTTOM EDGES FROM TO EACH EDGE LOFT INSIDE EACH STRIP CENTER 2 SETS OF ARCHES IN 02 PAIRS ROTATE THE JOINT TO EXTRACT TOP ALLOW IT FLOWING ADD JOINT COMPONENT AND BOTTOM ALONG THE SAME ON TO EACH EDGE EDGES FROM DIRECTION OF STRIP CENTER EACH STRIP SURFACE EXTRACT ONE SIDE EDGE FROM EACH STRIP

UNION TWO PARTS TOGETHER

JOIN EACH STRIPS WITH ITS JOINTS AND THE INTERSECTING LINES CUT THE STRIPS INTO HALF

JOIN EACH STRIPS WITH ITS JOINTS

CREATE MULTIPLE SETS BASED ON THE SCALING FACTOR; LABEL ALL

CUT THE STRUCTURE INTO HALF

CREATE A PLANAR SURFACE ABOVE THE STRUCTURE

05 MEASURE THE LOCATION ON PHYSICAL MODEL AND THEN CHANGE ON DIGITAL MODEL

CH CUTS

FABRICATION

DIFFICULT TO ASSEMBLE AND SOME STRIPS ON SURFACE SKIN HAVE SHAPES OUT OF CONTROL

ADJUSTMENT

SPLIT THE SURFACE INTO TWO PARTS(FOR TOP AND DRESS) TO ALLOW MORE CONTROL REDUCE THE DENSITY OF CONTOUR LINES AT SOME AREA OF THE SURFACE

PROJECT PROPOSAL

183

FINAL DESIGN [PARAMETRIC MODELLING PROCESS 01: S-BASE] Undulating strips along body curve.

GH Definition: Project, Mesh Closest Point, Interpolate Curve, Evaluate; Move, Loft Series, Dispatch & Weave; Cull; Partition List

BASE MESH

184

PROJECT PROPOSAL

CREATE CONTINUOUS CURVES FLOWING ALONG BODY MESH

S H

UNDULATE THE CURVATURE

GENERATE STRIP SURFACES

PROJECT PROPOSAL

185

FINAL DESIGN [PARAMETRIC MODELLING PROCESS 02: C-STRUCTURE & PATTERN]

Use existing digital model of C-Structure from previous prototyping as the basis for patterning. Pat GH Definition: Elk Plug-in, Pull Points, Scale, Unroll, Project, Evaluate, Mesh Closest Point, Orient, Clean Tree, Flip Matrix, List Length, Path Mapper, Series, Cull

1. UNROLL A CYLINDER CREATE WRAPPED AROUND BODY MES

EVALUATE PROJECTED POINTS ON CYLINDER AND LOCATED POINTS ON

186

PROJECT PROPOSAL

ORIENT PATTERNS WITH DIRECTION PERPENDICULAR TO BODY MESH

ttern generated according to Merri Creekâ&#x20AC;&#x2122;s Open Street Map

ED SH

2. PROJECT INPUT POINTS (LOCATION DATA OF SITE RELATED TO ENVIRONMENTS FROM OPEN SOURCE MAP) ONTO UNROLLED SURFACES

CULL THE OVERLAID AND UNSATISFIED PATTERNS

SCALE PATTERN WITH RATE CORRESPONDING TO ORIGINAL DATA

PROJECT PROPOSAL

187

FINAL DESIGN [PARAMETRIC MODELLING PROCESS 03: K-SURFACE]

Following the development from Prototype 05, as to contour the surface with the lines projected to Form a continuous surface all along the garment GH Definition: Scale, Unroll, Project, Evaluate, Orient, Patch, Brep-Plane Intersection, Offset Cull, List Length, Shift Path, Merge

02 EVALUATE THE LO PROJECTION TO THE UNR

03 ELEVATE THE EAC CORRESPONDING C-STRU

01 PROJECT C-STRUCTUREâ&#x20AC;&#x2122;S LOCATION TO A SURFACE AROUND THE GARMENT

04 PATCH A S

FORM GENERAT 188

PROJECT PROPOSAL

o 2D space for later editing and fabrication

05 PATCHED SURFACE

OCATION OF ROLLED SURFACE

CH TO THE UCTUREâ&#x20AC;&#x2122;S HEIGHT

06 CONTOUR THE SURFACE

07 PROJECT TO PLANAR SURFACE

08 TRIM OUT UNNECESSARY LINES

SURFACE

ATION PROCESS PROJECT PROPOSAL

189

FINAL DESIGN [PARAMETRIC MODELLING PROCESS 03: K-SURFACE]

PATTEN GENERATION MATRIX: BY CHANGING THE DIRECTION O 190

PROJECT PROPOSAL

o 2D space for later editing and fabrication

OF CONTOURING AND THE SURFACE THAT RECEIVES PROJECTION PROJECT PROPOSAL

191

FINAL DESIGN [FABRICATION EDITING 01: S-BASE - UNROLL STRIPS]

Owing to the unroll problem happened in Prototype 04(front and the back sides), data structure wa Another reason for data editing in this step is to make sure the strips were list in sequence. Becaus combining several different lists together, the order was random. However, in next step, different ty becomes essential. GH Definition: Flatten, Weave, Reverse List, Clean Tree Rhino Setup: Different colours for the front and back side shaded view

RHINO SCREEN SHOOTS WITH VIEW SHOWING FRONT AND BACK IN DIFFERENT COLOURS: ALL SURFACES HAVE THE SAME SIDE FACING THE OUTSIDE.

192

PROJECT PROPOSAL

as checked carefully with constant baking in order to let all strips have the same side facing outside. se strips were classified according to their lengths during the form generation process, when ypes of intersection details are required to be unrolled together with strips. In this case, the order

UNROLLED STRIPS FROM THE TOP PIECE

PROJECT PROPOSAL

193

FINAL DESIGN [FABRICATION EDITING 02: S-BASE - CREATE FABRICATION DETAILS]

First time generate fabrication details for all strips instead of dealing with the intersection among t All fabrication details had later been unrolled back to their strips after data editing.

GH Definition: 1) Creating Cut Lines for Clips Cluster for Generating Point of Inflection(previous method only functions for small amoun Cull, List Length, Sort, List Item, Path Mapper, Dispatch, Clean Tree, Insert Item, Clean Tr 2) Strips Strips Intersection & Holes for Cable Tie Brep-Brep Intersection, Polygon, Path Mapper, List Item 3) Unroll Cluster

UNROLLED STRIPS FROM THE TOP PIECE

MAKE 2D

FABRICATION DETAILS UNROLLED TO THEIR STRIPS: KEEPING THE DATA BRANCH IN THE SAME ORDER FOR STRIPS AND THEIR DETAILS

194

PROJECT PROPOSAL

three strips.

nt of curves), Line, Join, Move, Pull points ree

PROJECT PROPOSAL

195

FINAL DESIGN [FABRICATION EDITING 03: S-BASE - CLIPS SYSTEMS]

Clips was created on 3D model this time in order to better realize the curvature: Rectangular strips planar curvatures.

GH Definition: 1) Clips Body Generation Cluster for Generating Point of Inflection(previous method only functions for small amoun Cull, List Length, Sort, List Item, Path Mapper, Dispatch, Clean Tree, Insert Item, Clean Tr 2) Clips Head Orientation and Template Formation Deconstruct Brep, Orient, Rotate, Scale, Group List Length, Sort, List Item, Path Mapper

DIGITAL MODEL: TOP STRIPS

196

PROJECT PROPOSAL

DIGITAL MODEL: TOP STRIPS AND CLIPS

s are only able to generate planar curvature, but irregular quadrangular shape can generate non-

nt of curves), Line, Join, Move, Pull Points, Curve Ends, Polyline, Rule Surface, Surface Split, Unroll, ree

UNROLL CLIPS BODY FROM THE DIGITAL MODEL

EXTRACT THE LONGER EDGE AND ORIENT&ROTATE CLIPS HEAD

SCALE CLIPS HEAD ACCORDING TO THE WIDTH AT THE END OF STRIPS

PROJECT PROPOSAL

197

FINAL DESIGN [FABRICATION EDITING 04: S & C COMBINATION]

Following the same manner did in Prototype 04, however, the location for insertion was created using parametric modelling method instead of being picked randomly. GH Definition: 1) Merge Multiple List of Pattern Location Data into One List: Path Mapper, Merge 2) Locate Intersecting Lines: Move, Brep-Brep Intersection, Plane Path Mapper, Clean Tree, List Item 3) Unroll: Unroll, 3D Text Tag Rhino: After Unroll: Split & Union (The process has also been developed in Grasshopper later)

198

PROJECT PROPOSAL

LOCATE THE INTERSECTING LINES, UNROLL TO THEIR STRIPS AND MARK WITH C-STRUCTUREâ&#x20AC;&#x2122;S NUMBER

SPLIT THE STRIPS AT THE CUT LINE AND PULL APART DIFFERENT COMPONENTS

UNION WITH THE CORRESPONDING C-STRUCTURE PROJECT PROPOSAL

199

FINAL DESIGN [FABRICATION EDITING 05: K-SURFACE FABRICATION]

Although the K system was design as a continuous surface flowing across body, the size limitation

FINAL PATTERN

200

PROJECT PROPOSAL

ADD THE INTERSECTION WITH C-STRUCTURE

ADD BRACIN PATTERN TO FIT

n restrict the proposal. In this case, one integrated surface was split into 3 pieces for fabrication.

NG & DIVIDE FOR LASER CUT

TOP PIECE

BOTTOM PIECE

PROJECT PROPOSAL

201

FINAL DESIGN [FABRICATION: PROBLEMS DURING LASER CUTTING] 1) Laser cut size limitation: Need to split K-Surface into 3 pieces and to cut some strips in half and combined later using cable tie; 2) Not enough material for fabrication: Need to use thinner material for part of the works

FINAL DESIGN [FABRICATION: CUTTING RESULT: K-SURFACE]

202

PROJECT PROPOSAL

FINAL DESIGN [FABRICATION: CUTTING RESULT: S & C STRIPS, CLIPS]

PROJECT PROPOSAL

203

FINAL DESIGN [FABRICATION: ASSEMBLING PROCESS] K-SURFACE & C-STRUCTURE

204

PROJECT PROPOSAL

205

FINAL DESIGN [FABRICATION: ASSEMBLING PROCESS] S-BASE STRIPS & CABLE TIE SEQUENCE

206

PROJECT PROPOSAL

1-3-2

2-4

3-1-4-2

PROJECT PROPOSAL

207

INSIDE

208

PROJECT PROPOSAL

OUTSIDE & NUMBERING

PROJECT PROPOSAL

209

FINAL DESIGN [FABRICATION: PROBLEMS & SOLUTIONS] 1) Clips: After spending some time dealing with the problems of missing clips and too soft material, it is interesting to find out that the curvature can be realized with or without the clips systems. It seems that the clips and cable tie used to secure the intersection share a same function.

WITH V.S. WITHOUT CLIPS

210

PROJECT PROPOSAL

FINAL DESIGN [FABRICATION: PROBLEMS & SOLUTIONS] 2) Thin Strips At the collar part and in front of knee, the strips become too thin for assembling. Thin strips after adding fabrication details always have a result of broken pieces, which makes the undulating and intersecting form difficult to be realized

TOO THIN TO CONNECT WITH OTHERS

PROJECT PROPOSAL

211

FINAL DESIGN [FABRICATION: PROBLEMS & SOLUTIONS] 3) C-Structure: The distance between each structure is very close, which makes smaller structure not able to be moved or even not able to be assembled. On possible solution is to control the number of structure attached to each base strip or to connect multiple C-strips to one S-strip

SMALL SCALE C-STRUCTURES CAN NOT HOLD THE SHAPE SINCE THE STRIP IS PULLING EVERYTHING APART 212

PROJECT PROPOSAL

LARGE SCALE C-STRUCTURE CAN FORM THE SHAPE AND IS ABLE TO BE PRESSED

PROJECT PROPOSAL

213

FINAL DESIGN [FABRICATION: PROBLEMS & SOLUTIONS] 4) Top Surface: - Poor laser cut quality and the change on location between physical model and digital model lead to the repetition of cutting process with several changes on the patterns as well.

VERSION 01: BURNED SURFACE AFTER CUTTING AND UNABLE TO ASSEMBLE DUE TO THE LOCATION CHANGE ON C-STRUCTURE

VERSION 02: MODIFY SU TO THE LOCATION ON R PATTERN IS OUT OF CON

CHANGE LOCATION BASED ON PHYSICAL MODEL

214

PROJECT PROPOSAL

URFACE LAYOUT ACCORDING REAL MODEL, BUT THE NTROL

FINAL VERSION: REMOVE UNNECESSARY STRIPS

PATTERN SIMPLIFICATION

PROJECT PROPOSAL

215

FINAL DESIGN [FABRICATION: PROBLEMS & SOLUTIONS]

4) Top Surface: - For dress, pattern created in digital space does not have an aesthetics as good as t top. In this case, K-Surface on dress was reduced to give a match with the top.

INITIAL PATTERN FROM DIGITAL MODEL

216

PROJECT PROPOSAL

TESTING

the one for

FINAL PATTERN DECIDED PATTERN

PROJECT PROPOSAL

217

FINAL DESIGN MODEL

218

PROJECT PROPOSAL

219

FINAL DESIGN MODEL

220

PROJECT PROPOSAL

221

FINAL DESIGN MODEL

222

PROJECT PROPOSAL

223

FINAL DESIGN MODEL

224

PROJECT PROPOSAL

225

CONTINUING DEVELOPING OUR IDEAS: VARIATION ENABLED BY PARAMETRIC MODELLING. VARIATION ON BASE FORMS

VARIATION ON STRIPSâ&#x20AC;&#x2122; SIZE & SHAPE

VARIATION ON C-STRUCTURE SIZE AND LOCATION

VARIATION ON K-SURACE PATTERN GENERATION 226

CONCEPTUALISATION

C.4. LEARNING OUTCOME OBJECTIVE 1: Interrogating a brief Through experimenting in Part C, it can be found that digital development process can introduce different approaches to respond a brief, which as a result may provide more opportunity for design. OBJECTIVE 2: Ability to generate a variety of design possibilities for a given situation In my point of view, Grasshopper has its biggest benefit on the possibility it provided in design process. Instead of use technology as a way to just express the idea, parametric tools also helps to generate interesting ideas. OBJECTIVE 3: Skills in various three dimensional media After practicing for a whole semester with parametric tools and 3D design environments, lots of skills and experience have been gained. Iâ&#x20AC;&#x2122;m very interested in generate ideal forms and shapes using data editing, which seems to combine the creativity with logic thinking. OBJECTIVE 4: Understanding to architecture and air Prototype is essential for digital design. Without fabrication and trial, it is impossible to know what will happened when applying the structure. Failure and mistakes during this process might in fact be opportunities. OBJECTIVE 5: Ability to make a case for proposal Parametric tools helps to create more possibility for design and it helps to better express the ideas. Therefore, the ability of making proposal for a case can be improved if the skills using parametric modelling tools are improved. OBJECTIVE 6: Capabilities for conceptual, technical and design analyses of contemporary architectural projects Technology is an inevitable trend for todayâ&#x20AC;&#x2122;s design development. Through experiencing in AIR studio, more knowledge about digital design has been approached, which lays background for analysing contemporary architectural projects. OBJECTIVE 7: Foundational understandings of computational geometry, data structures and types of programming The study in this semester has created an opportunity for me to get in touch with parametric design and programming for the first time. And I feel more interested in the digital design after creating interesting form using these tools. OBJECTIVE 8: Developing a personalized repertoire of computational techniques I have discovered many different ways to create parametric models, especially through with data editing makes me feel more interested in. CONCEPTUALISATION 227

228

PROJECT PROPOSAL