Module 2 - DESIGN 641233 Rizal

MODULE

2

| DESIGN

Rizal Ambotang Student no . 641233 Semester 1/2013

Group 5

DIGITISATION | CONTOURS LOFTING Due to my model is made by clay, the model I had made in Module 1 has harden and when I tried to slice the model it breaks into pieces.

In view of that, I have decided to use Method 1 i.e. tracing a scaled reference photo to digitise my clay.

The lofted model turned out to be very different from the original model and the top portion of the model was not represented due to the inability of the lofting process to create cross sections .

Rhino was not able to create further cross sections for the lofting process from the rest of curves.

Clockwise from left: Top, Perspective, Right

DIGITISATION | CONTOURS LOFTING I also tried to merge the digitised model with the top portion of my 3D model which I’ve developed from Module 1 .

Unfortunately this effort was also undesirable as the two parts seems look disjointed and do not share the same characteristics i.e one which looks more geometric and the other being very organic.

Disjointed parts.

Clockwise from left: Top, Perspective, Right

DESIGN| ITERATION & ADJUSTMENTS With the unsuccessful attempt to digitise my clay model, I have decided to concerntrate on designing the model entirely in the digital realm.

However I am very optimistic that the digitisation technique I have learn from this class would certalin comes in handy and useful in bringing in organic model into 3D realm.

My recent comment on my design being very predictable and basic, have been adjusting my design and looking for additional inspirations.

Further thoughta on my design brought me to the shape of swiss horn where the elongated tube diverges to a bell shape at the end. The diverging shape amplifies the sound wave . In my design the diverging tubes will provide directional surface to the light sources.

Clockwise from left: Top, Perspective, Right

The shape my model is inspired by the swiss horn. The surface in the Swiss horn reflect sound waves.

For lighting effect, the diverging tubes will be covered by a truncated cap with elliptical holes. This will hopefully provides elliptical projections onto the ceiling.

Handling of this lattren has also changed. Due to the elongated tube shape , it should be hold by using 2 hands as per picture (left).

(Panozzo,2010)

Top Cap mimicking my original natural pattern i.e. coral

PANELLING

2D PANELLING

TESTS| IN-BUILT SHAPES

Point density : (U) 8 x (V) 2 per planar surface

angled edges - not ideal, difficult to fabricate and assemble

PANELLING

3D PANELLING

Point density : (U)30 x (V) 4 per planar surface

1) Impractical designs due to the sharp edges throughout.

2) Laborious construction

Overlapping fins.

I have to reduce the offset value to prevent the apex from touching each other.

DESIGN CONSTRAINT Because of the nature of my design, the thin side edges present a challenging design constraint. The thin strips forces the 3D panels to be small.

TESTS| IN-BUILT SHAPES

PANELLING

TESTS| CUSTOM SHAPES

Base 2D pattern

Combination of : 1) Boolean 2) Split processes

Base 3D pattern

** I have used this to construct my prototype to test my lighting effects.

This panelling appriach will be used on my final design with slighttyly different approach on my next deisgn iteration.

Clockwise from left: Perspective, Top, Right

PROTOTYPING| TOP CAP DESIGN - NON PANELLING TREATMENT Right view

1)LOFT each cell using the , cross sections of the cells to each the ellipse maintaining the same height.

1) Trace each of the cell from the model 2) find the AreaCentroid of each of the cell 3) Using the centroid point as the center , create ellipse for each of the cell

Top view

Perspective

PROTOTYPING| TOP CAP DESIGN - NON PANELLING TREATMENT

Top view

UNROLLING PROCESS 1) Use PTUNROLLFACES on each of the cell, one at a time and label in sequence as I unroll them.

2) As each of the unroll elements are still in complex mesh surface, I simplified the elements by making them 2D using MAKE2D command.

3) I also delete unnecessary lines and joining/extending the cut lines to the rest of the shape.

4) To make the tabs/planar lips, I use the combination of OFFSET function and SCALE2D function to have the tab angled.

PROTOTYPING| OUTER SKIN PANELING

UNROLLING PROCESS 1) The planar surface has cut outs of the 2D element including the square holes for the fins assembly.

2) Use PTUNROLLFACES on each of the square panels (5 x).

Walls & base unrolled

2) As each of the unroll elements are still in complex mesh surface, I simplified the elements by making them 2D using MAKE2D command.

FINS unrolled

3) The light fins are unrolled separately and will be assembled on the square cutouts.

PROTOTYPING| OUTER SKIN PANELING

PROTOTYPING| LIGHTING EFFECT

Internal light source

Materiality I am using white 210gsm paper.

Because of the intensity of the light bulb ( 23watts, 4000K) which is probably a bit too bright for this occasion, I can see the tabs showing through the thick paper.

I found that internal lighting have softer and more diffused shadow casted.

In contrast external lighting have clearer definition shadows

Materiality I have also tried putting yellow tracing paper and covering the cutouts and see the outcome. The shadows are softer and more diffused.

External lightsource

PROTOTYPING| FUTURE DIRECTION TOWARDS FINAL DESIGN 1) Overcome the design constraint where the thin sided walls are forcing smaller paneling size and denser grid thus making the fins and cutouts design to be small and difficult to construct. Possible solution is to panel the tube laterally instead of vertically.

PANELS UNROLLED

DESIGN WITHOUT FINS AND CUTOUTS

2) Fine tune the combination of 2D cut outs and 3D fins to be more fluid. I would like to try using generative design approach to varies the sizes of the cut-out according to a curve (attractor) .

PRECEDENT |

RMIT UNIVERSITY , Swanston Street, Melbourne

Pixelated Facade, RMIT Swanston Academic Building (Bldg. 80) , July 2012 Architect s : Lyons Architecture The design objective behind triangular and pyramid-scaled facade is a “pixelated” reflection of its surround environment. It’s a combination between 2D and 3D elements using the elemental shape of a triable to make up the arrays of curved and folded surfaces.

The fins or scales act as sun shade. They are positioned at different locations of the facade to provide different degrees of shading.

I have used similar panelling approach i.e. combination 2D cut-outs and 3D scale elements (2D being the stylised L cut-out and the 3D being the jut out fins).

(RMIT 2013)

PRECEDENT |THE CORE EDUCATION CENTRE, THE EDEN PROJECT, Cornwall , UK The Core, Eden Education Centre, April 2001 Architects : Nicholas Grimshaw and Partners The Core, Eden Education Centre is a part of The Eden Project which was built as a learning centre where visitors can come and discover conceptsof ecosystem, climate change and plant study. It’s also a popular venue for art and live performance in the evenings.

The specific attribute that interest me to this building is that the highly geometric design which I suspect uses the ‘parametric modelling” to come up with the geometry.

(Grimshaw, 2013)

(Hannah, 2011)

Additionally, the fins/scales coming out of the roof provides sunlight/natural lighting to the internal structure. In my design and I am lighting my model internally, I am hoping that the fins will provide downward lighting effect.

REFLECTIONS| LECTURE & READING RESPONSES Reading responses The Scheurer & Stehling reading introduces the re-emergence of mathematics in architectural design. Traditionally, architectural designs are represented through 2D drawings i.e drafting. The 2 D drawing in communicating design is insufficeint to convey complex shapes thus resulting in loss of information.

Nowadays the advancement of CAD system evolves from the traditional 2D drawings to complex mathematical based systems that can model complex 3D shapes.

The reading also introduces the ideas of ABSTRACTION and REDUCTION. ABSTRACTION This is a process of reducing complex real world ideas/shapes or models to a level where they can be describe effortlessly. The approach is to describe, say an object and its characteristics, in the most simplest and clearest way. I find this idea to be parallel to Kindinsky analytical drawing approach where describing objects/surroundings through elemental lines and shapes and abstracting these lines and shapes through relationships between them.

In the article, the “parametric modelling� which uses algorithm (instruction sequence) that accept sets parameters to produce an output i.e. 3D model.

The variation of these parameters will allow different output to be achieved.

Parametric modeling allows abstraction of a model by generalisation through set of parameters that can describe the model with enough details.

REFLECTIONS| LECTURE & READING RESPONSES REDUCTION In contract to ABSTRACTION, REDUCTION is a process of re-decribing, say a model, in a more efficient manner. For example, eliminating repeating elements by storing and only keeping the reference element. In CAD system, these elimination of redundancies are done through nomalisation where to recreate an actual shape of a model, the system will save one reference surface and defining a set of geometric operation i.e. scale, mirror, transformation to be done to rebuild the model. Good example would be the Grasshopper software where you can set-up a model by defining an input geometry then building a hierchical graph to define the geometric processes/sequences to build the final outcome.

Thomas Heatherwick TED talks Provided an interesting look at spatial effects through his designs. I particularly like his idea on the UK pavilion for the Shanghai Expo where he started from the basic idea of the Kew Seed Bank initiative and how we ants to represent this in a structure. It was amazing how he was inspired by the children’s play toy to generate the strings/elements of the glass tubings. Because of the enormous number of glass tubes (66,000) required to represent the seed species, he was able to arrange these tubes together to make up a structure. I was also particularly interested with his interpretation of the bascule bridge where the bridge curls up and inwards to form a beautiful circular structure instead of the “broken” sections approach.

REFERENCES BREWIS, J. 2010. The Eden Project [Online]. GREENwichFORUM. Available: http://www.greenwichforum. net/2010/11/12/jolyon-brewis-hopkins-architects/ [Accessed 13/04/2013 2013].

ZIMMER, L. 2012. RMIT Swanston Academic Building’s Pixelated Facade Remixes the Melbourne Skyline [Online]. Inhabitat.com. Available: http://inhabitat.com/scale-facade-building-is-based-on-pixelated-image-of-the-buildingsthat-surround-it/ [Accessed 16/04/2013 2013].

RMIT. 2012. Swanston Academic Building (Building 80) [Online]. RMIT. Available: http://www.rmit.edu.au/capitalworks/ sab [Accessed 16/04/2013 2013].

Images PANOZZO, C. 2010. One Big Yodel.

HANNAH 2011. Eden to host green building centre. The Eden Project.

GRIMSHAW 2013. The Eden Project: The Core.

RMIT 2013, Swanston Academic Building (Building 80)