Foundations of Design : Representation, SEM1, 2018
M3 JOURNAL - PATTERN vs SURFACE Shanaia Marie Aguila - 1003419 Kristen Wang - Studio 5
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WEEK 6 READING: SURFACES THAT CAN BE BUILT FROM PAPER IN ARCHITECTURAL GEOMETRY Question 1: What are the three elementary types of developable surfaces? Provide a brief description. (Maximum 100 words) Developable surfaces are made out of unfolded geometrical patterns where “special ruled surfaces” are positioned on a tangent plane on an “entire ruling”. They contain parabolic surface points or flat points with “vanishing Gaussian curvature” and this includes cylinders, cones and tangent surfaces of spaced curves. Cylinders are formed by a series of parallel lines that are developed through parallel extrusions and rulings along the normal of its profile curve, forming various prisms. Cones are made up of curved lines intersecting at one point, the vertex, with points aligning along its profile curve. Tangent surfaces of spaced curves comprise of connecting the vertices of a polygon to form a plane.
Question 2: Why is the understanding of developable surface critical in the understanding of architectural geometry? Choose one precedent from Research/Precedents tab on LMS as an example for your discussion. (Maximum 100 words) In the understanding of architectural geometry, the concept of developable surfaces is significant as it forms the foundations of all intricate structural surfaces in the physical world. It offers a tangible base where architects can manipulate, extrude and quantify when undertaking the design process of construction. Cloud Canopy by Maddison Architects exemplifies the understanding of architectural geometry in which the glazed roofing is unified to a honeycomb pattern and positioned parallel to the ground. Made with layering of steel plates, the integration of the geometries in its design is made possible as its construction allows sunlight to seep through while the structure remains stabilised from external factors of the environment. Image Source: www.maddisonarchitects.com.au/projects/ cloud-canopy
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PANELLING PATTERN
2D Panelling - Pattern: Triangular
2D Panelling - Pattern: Diamond
2D Panelling - Pattern: Angle Box
3D Panelling - Pattern: Pyramid 1
3D Panelling - Pattern: Box 3D
3D Panelling - Pattern: Pyramid 2
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VARIABLE 3D PATTERN
Initial curve attractors which are used to offset 2- First design in my experiment. Coherence the grid panel points. The initial module design for was achieved but the modules appeared experimenting my desired design. to be individual with one another.
4- Remained with the smooth slope effect while 5- Using one curve attractor running across the moving the curve attractors to further accentuate terrain whilst having the opened shapes as first the contrast of height. modules.
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3- Attempted to make a greater juxtaposition with the peaking vertices and flat surfaces of 10mm however this design seemed unbalanced.
6- Offsetting the points with the same height of 59.4 mm andf switching the order of the modules.
3D PANEL TEST PROTOTYPE & TEMPLATE
Unrolled surface (Strip 1, Combined shapes 3-4-5)
Panel test prototype with Strip 1 3-4-5. Stuck the template unto the 290 gsm ivory card and used a pen knife to cut its edges. To fold, scoring was a technique I used in order for the card to fold nicely without the paper to ‘bend’ awkwardly. Found that using the pen knife would be time consuming when cutting out the unrolled surfaces. Managing time was key into this assignment so I ensured not to overdo the cutting and folding process from here on. However, I took note to cut out the tabs running along the edges of opened shapes using pen knife for a clean finish.
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WEEK 7 READING: DIGITAL FABRICATION
Question 1: What is digital fabrication and how does it change the understanding of two dimensional representation? (Maximum 100 words) Digital fabrication is “used to calibrate between virtual model and physical artifact”. Through this, this achieve certain design aesthetics, consisting of “perceptual, spatial and formal effect”. As a consequence, the use of digital fabrication undergoes a process where initial design and final production becomes far-fetched with one another. Its practices unify the relationship between buildings and representation, conjoining the processes in which design is integrated with model-making. For example, CAD programs encourages architects to expand their visual understanding of a structure and how its forms would adhere to limitations.
Question 2: Suggest two reasons why folding is used extensively in the formal expression of building design? (Maximum 100 words) One reason why folding is crucial with model-making is being able to translate flat planar shapes into three-dimensional forms in order to gain “stiffness and rigidity” when erected from a surface. Secondly, this technique can be extensively used in many different platforms within architectural and industrial design as a means of expressing transformation, redefinition and distortion of a physical object.
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EXPLORING 3D PANELLING The main idea I want to focus on in my terrain is to emphasise the movement of waves. This would have a subtle juxtaposition with the landscape as I attempted to contrast t its curvature with the representaion of waves. Its calm and gentle expression is necessary in order to emphasise the transfer of energy flowing along its movement. However this is also exaggerated through the varying shapes of individual panels. The open shapes are exposed to emphasise the crashing of the waves whereas the peak of the wave is indicated through the use of the closed pyramids, angling at different directions. To contribute this repetition of shapes in certain positions displays the density in which the waves are propogating. From above, the direction in which the wave is propagating is also evident. The panels are positioned to be running diagonally across the terrain to highlight where the force is directed towards. In turn, the subtle effect is intentionally designed to contradict this force of gravity as shown in the way its subtle expression remains consistent in movement although the terrain is inclined at a somewhat steep angle. I intended to position the observer to recognise how forces of the waves and gravity interact with one another through its serene and calming design.
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UNROLLED TEMPLATE OF FINAL MODEL
All unrolled templates of the final model. Shapes were combined by 2s and 3s and consisted of 4 designed modules that vary in size (which are dependent on the off set points). Some combined surfaces were found to be overlapping one another when unrolling so it was necessary to separate them in order for the template to be a developable surface. These templates were all printed out onto regular A3 laser paper and placed on ivory card to be cut, scored, folded and built. Surfaces includes S8-1, S8-2, S8-9 and S-10 needed to be redone as its proportions appeared to be much smaller than it was supposed to be.
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PANELISED LANDSCAPE
The final constructed landscape. Overall, the result was successful in a sense it was able to capture a soft expression of wave movements. This is shown through the variety of open and closed shapes, which indicates the density of waves clustering in certain areas. The variation in height also contributes to this main idea as it exemplifies the way shapes interacted as if they were either colliding or dispersing. I intentionally focused on using these simple designs for each module in order to achieve a unifying figure of the terrain, rather than developing a dramatic effect that would cause parts of the terrain to be isolated. Everything shown on the terrain is meant to weave and intertwine with one another.
The form and shape of the terrain is what inspired me to follow through the idea of waves and its behaviour when it is inclined at a certain angle. As shown in the montage on the right side, certain modules are hidden and exposed due to the range of sizes. On the other hand, the constructed landscape demonstrates not only the way the panels sit along its own tangent of the curve but it also enacts as a notation , symbolising the landscape of Tasmania and how its representation can be demonstrated like a wave-like effect.
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APPENDIX
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1- Initially playing around with Rhino. Finding what best suits the curvature of the terrain, the time available to develop the model both in the software and in real life, and the restraints of the design brief. At this stage, the idea of incorporating a wave-like effect into my terrain allowed me to execute this task, whether its shape would be dramatic or calm and subtle.
2 - Range of modules were made varying in how its made and functions used. In order for the panels to be a developable surface, the command SrfPt was used to form the shapes manually and simplify its polygons. Through this, the process of unrolling the shapes would be effortless and less complicated as it avoids overlapping of the surfaces. The asterisk (*) indicates the modules that is used leading towards the final design for my terrain with SrfPt.
3 - Underwent a series of trial and error with curve attractors. I continuously adjusted the off set points in order to complement with the direction in which the the curve attractors were propagating. Initially, I attempted to used sinusoidal curves as curve attractors however due the effect did not come out the way I wanted the grid points to off set as the 594x594mm grid did not enough grids to clearly adapt to the curve. In turn, I figured that the best way to demonstrate the wave-like effect is framing the form of the waves in its propagation. This is shown on the right most panel where lines are positioned diagonally across the terrain with curves running along its end illustrating its ripples.
4- I have made different attempts in creating my desired design. Each refinement varied in terms of how its made, the positioning of the modules and the position of the curve attractors. The shapes of the curve attractors also varied, causing the height of the modules to differ accordingly. One of the main focus in this stage was the coherence in the height and how each module would complement with one another. This is important in order to demonstrate the wave-like effect I wanted to capture in my terrain. Some of the initial refinement designs had a smooth curve whereas my final design depicts a diversity of sizes, which best encapsulate a realistic form of waves.
APPENDIX
5 - Individual and combined panels are attached together according to their designated strips. I ensured that its proportions remain consistent so the panels would not be tugged or ripped when it connects with other stripes.
6 - Clips were used as grips when attaching shapes together. By doing this, it prevents the glue from getting messy.
7 - Attaching strips together along the tabs. PVA glue allows the panels to not only attach firmly on one another but it allows the ivory card to become more sturdier, ensuring that the grid would not be flimsy or fragile. However, it is easy to get messy with the glue at this stage so tissues are used to clean up some glue spills. This process continued in working towards its finished design.
8 - Finished panelised landscape seen in a perspective. At this stage, I was experimenting with lighting simply through iPhone6s and what position would best depict my desired representation of the terrain. I thought to myself that the best way to present my terrain in images is to focus on modules that contrasted in height and its shape.
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