Hashemi soodabeh 761448 final journal by soodi

STUDIO AIR Semester 2,2016 SOODABEH HASHEMI CAITLYNE

CONTENT PART A. CONCEPTUALIZATION A.0.

INTRODUCTION/PREVIOUS WORK

6-11

A.1.

DESIGNING FUTURE

12-17

A.2. A.3.

DESIGN COMPUTATION COMPOSITION/GENERATION

18-23 24-29

A.4.

CONCLUSION

A.5.

LEARNING OUTCOMES

A.6.

ALGORITHMIC SKETCHES

34-49

PART B. CRITERIA DESIGN B.1.

RESEARCH FIELD

54-58

B.2.

CASE STUDY 1.0

58-91

B.3.

REVERSE ENGINEERING PROJECT

92-125

B.4.

TECHNIQUE DEVELOPMENT

126-155

B.5.

PROTOTYPE TECHNIQUE

156-165

B.6.

DESIGN PROPOSAL

166-175

B.7.

LEARNING OBJECTIVES & OUTCOMES

176-179

B.8.

ALGORITHMIC SKETCH DESIGN

180-191

PART C. DETAILED DESIGN C.1.

DESIGN CONCEPT

196-215

C.2.

TECTONIC ELEMENTS AND PROTOTYPES

216-233

C.3.

FINAL DETAIL MODEL

234-245

C.4.

LEARNING OBJECTIVES AND OUTCOMES

246-251

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NC CO

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CONCEPTUALISATION

part a

alization

conceptu

CONCEPTUALISATION

INTRODUCTION

Who is Soodabeh Hashemi? I am soodi second year student of environments major in Architecture.I came to Australia in 2007 as a student of salon management in a tafe course.Soon after,in 2008 I became Australian resident and in 2010 I set up my own salon in north balwyn and still I am running it part time while I am studying. I am pleased that I have a little cutie 5 years old child who is an effective motivation of my life particularly studying aspect. I used to study in architecture in iran but due to some situation I resulted in leaving the course despite my intention. As my dad is a civil engineer I was always encouraged in that field and was facinated in archtecture and related majors.Although,I don’t like hand drawing but I love digital designing. I belicve that degital design has created a new world which is very different to the world befor computer and digital designs came along. I can conider myself a sustainabel architect who loves to design accordingly.

CONCEPTUALISATION

PEREVIOUS WORKS SLEEP POD /DEGITAL DESIGN AND FABRICATION This is a sleep pod that i designed digitally and fabricated it in digital design an dfabrication subject semeater 1/2016.It was mainly about how to integrate technology and computation in our design while we are exploring dimension of human body as context to create a parametric design as sleep pod ,and generate diffrent iterations via changing the parameters in our digital design.Then we developed our design by making prototypes to test the materality and functionality of the deisgn while i was testing different tactics in fabrication and applying technologies into the fabrication process. DDF suject helped me to reflecting on the effect of digital software on design process and integration of new technologies into fabrication of a digital design. In this design journey, I learned the importance and transformation of design process to digital design .I mean hand drawing designs and as such are no longer effective as we are moving toward a parametric world, even I believe that we will arrive to a future that human body will be covered by parametric designs as clothing. Because as we can see computational design has been broaden into fashion industry as well.

STUDIO EARTH/ A PLACE FOR KEEPING SECRET Further more, fig(3) shows my interset in parametric designs.I desined a parametric shelter in a place for keeping secrete in studio earth. I am a fan of parametricism and i love to design parametrically. I am not very good in hand drawing but i think i am good in degital designing. i definatly dont understaimate the value of free hand drawings but i believe since we are moving toward technology , we can achive more defined and iteresting practices in architectural designs via computation. As we know , a lot of people say that computer is blocking th ecreativiy ,which is true but i think computation is diffrent and it is unblocking the creativity . It helped me always to design funcky crasy designs.

CONCEPTUALISATION

fig 1, digital design and fabrication .sleep pod

photo taken by paul loh,i ws proud that my design was chosen as cover photo of the exhebition night 2016. CONCEPTUALISATION

fig 3 ,studio earth ,a place for keeping secret.

CONCEPTUALISATION

A.1. DESIGN FUTURING 1.1. Battersea Power Station and Frank Gehry’s Flower Tower 1.2. Seed Cathedral/UK pavilion in 2010 EXPO Shanghai

CONCEPTUALISATION

1.1. Battersea Power Station and Frank Gehry’s Flower Tower

Frank Gehry has designed the green flower tower with parametric tools to create a fascinating facade by layering the walls and sliding panel in London in relation to the Battersea power station1. Obviously Frank Gehry’s ideas of fluidness has been repeating constantly through of his designs as well as the flower tower. For example a cluster of five mixed functional buildings with twisted and rippled facades highlights Gehry’s particular style 1. This design is a way of new way of thinking in design and a revolutionary into the poetry of architecture, and its effect to the surrounding environment. Obviously, this design will offer many residential units, and a high commercial usage of the area, that will create a new high street for London2. Obviously, this expansion will increase the possibility of design defuturing that means there is an uncertainty that would be brought to the sustainability of the environment around it 3. The coordination between the Battersea and the flower tower explains that the complexity of that design is regarded as a world shaping matter and it would be continued in near future3. Obviously the flower tower would enhance the aesthetic of the surrounded environment and create a more vibrant and live atmosphere for the user of the site. Now there is a question in terms of sustainability of the design and how much this design is saving our natural resources? According to Treenhugger journal 2014, the relationship between aesthetic, ecology and design has been well regarded in parametric designs and the performance and functionality of the design would not be affected by the aesthetic of the design4. according to this design ,it is self explanatory that computational/parametric designs have brought new approaches in construction and architecture industries. Parametric designs can be a Solution in design futuring in order not to compromise future for the sake of present pleasure.

1.<http://inhabitat.com/foster-partners-release-new-images-of-battersea-power-station-as-apartments-go-on-sale-this-month/>. 2 .The journal of the american institute of architects, ‘London Collaboration between Frank Gehry Partners and Foster ‘, Architect magazine 2014. 3.Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. 4.http://www.treehugger.com/green-architecture/frank-gehry-gives-finger-98-architects-why-he-should-look-mirror.html

FIG (2) , Image of Battersea Power Station and Frank Gehry’s Flower Tower 1

1. https://www.batterseapowerstation.co.uk/apps/global-launch/img/live-prospect-place-left.jpg

1.2. Seed Cathedral/UK pavilion in 2010 EXPO Shanghai by Thomas Heatherwick

Fig.3 section of the pavilion1

This is a great example of technical practice which emphasis the power of digital design and fabrication in architectur that can change methods of designing to create a broader outcomes2. The fabrication of this amazing design is something that many people believed that is impossible; assembly of 60,000 acrylic spikes with height of 7.5m something really fascinating. I think this design is achieved just by the power of computational design software such as rhino/grasshopper programing. It is an absolute futuristic design that verify the possibility of many more different parametric designs which is only achievable by the power of design programming software3. The ideas behind this design was mainly to create a design that can stands out from crowd while it create a choice for the visitor to either enter into the pavilion or watch the pavilion at a calm and relaxing environments around it4. By reflecting on the idea behind this design, one can consider it as design futuring as it is changing the way we think in what and how we design . Moreover ,it is exploring how design practice is understood, developed and deployed which its approach will be continued in future5. On the other hand, this pavilion is continued to be appreciated due to considering the relationship between cites and nature, The sustainability of the nature and natural resources have been highly considered in approaching the design 6.As a matter of fact, the method of construction and structure of this design is a new approch in architecture which proves that computation is making everything possible ,and designers can design with out being worry about construction of it.It is amazing that world is moving towards parametric designs no matter in building designs or fashion industry .I think we will arrive to the future that even our clothse would be designed and made parametriclly as compotation is taking over the world of desin and fabrication.

1. Hanif Kara, ‘Structural Engineering [Uk Pavilion, Shanghai Expo 2010]’, Architects’ journal, 232 (2010), 41-46. 2,.2Hanif Kara, ‘Structural Engineering [Uk Pavilion, Shanghai Expo 2010]’, Architects’ journal, 232 (2010), 41-46. 3. Hanif Kara, ‘Structural Engineering [Uk Pavilion, Shanghai Expo 2010]’, Architects’ journal, 232 (2010), 41-46. 4 . Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009). 5.Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. 6.Arcdaily, <http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>. 16

CONCEPTUALISATION

fig 4, the cathedral seed ,uk pavilion in expo 2010 in shanghai1

1.https://pi.tedcdn.com/r/pe.tedcdn.com/images/ted/21138135ad7349568c4b87354201bc917917713e_800x600. jpg?cb=05112016&quality=89&w=800 CONCEPTUALISATION

A.2. COMPUTATIONAL DESIGN 2.1. ICD/ITKE Research pavilion 2.2. The Lattice Roof of Crossrail Place at Canary Wharf

CONCEPTUALISATION

2.1. ICD/ITKE Research pavilion

Fig 1,ICD/ITKE research pavilion1

Research Students at the University of Stuttgart have designed a temporary bionic research pavilion made out of very thin layer of plywood that explains the creative new tectonic of construction that is created by computational design2. Basically this computational design is expressing the integration of technology in architecture and its construction.This new approch shows the possibility of effectively extending the recognized bionic principles and related performance to a range of different geometries through computational processes, which is explained by the fact that the complex morphology of the pavilion is built exclusively with extremely thin sheets of plywood (6.5 mm)3. This is a good example to explain the impact of computational design process of its construction, as well as a new approach in designing light weight structure despite the huge scale of the design.Thus the integration of computational design process in structure calculation with form is evidenced. according to the fig 2 image collage ,the satge s of construction of this design is leaded computationally and robotic metrhod,which can express the power and logic of digital design thinking and effect of computer in design process and construction. Clearly, Parametric designs are proof of how computers are used to redefine architectural design practices by changing the parameters and creating algorithmic procedure to create variations 4. Thus computers are great medium of practice in design process.

1. httpwww.stylepark.comenarchitecturecomputational-design-and-robotic-manufacturing330016 2.university of stuttgart, 2012) <http://icd.uni-stuttgart.de/?cat=22&paged=2>. 3. Arc2o, 2011) <http://www.arch2o.com/icd-itke-research-pavilion-2011-icd-itke-university-of-stuttgart/>. 4.Rivka Oxman, and Robert Oxman, Theories of the Digital in Architecture (Abingdon, Oxon ; New York : Routledge, 2014., 2014). 20

CONCEPTUALISATION

Fig 2, the process of designing and assembly of the robotic made materials1

1 httpicd.uni-stuttgart.dep=6553 CONCEPTUALISATION

2.2. The Lattice Roof of Crossrail Place at Canary Wharf

Fig 1,the lattice roof of crossrail place at canary wharf1

In this parametric computational design the importance and role of computation tectonic in designing is highlighted significantly. Introduction of computation in design industry has effect on the creation of new creative materials and tectonics in construction industries by creating algorithmic programs that computers can follow to generate parametric designs and robotic construction that can calculate energy and structural performance of a design2. Computation in design, is creating unique ways of making prototypes and creating opportunities to redefine the prototype to achieve the desired outcome. According to Jonathan Rabagliat F+P computational designer, in the lacttice roof of crossrail “All the nodes, beams, cushions, and flashings were designed and fabricated as one parametric family, This permitted the exchange of data sets and geometric rules facilitating the gradual refinement of the design through successive digital and physical prototypes”3.For example,in order to make the steel node connections as it is shown in collage image in fig (2), the architects built 3D prototypes followed by, a full-scale mock-up to help them in the calculation of the size, shape, geometry, number of connections that would be required4. I think this example can be an evidence that computation has taken an essential role in architectural designs as they are fast,precise in creating faultless parametric outcomes, of course by the help of human brain and its creativity in giving computers new instructions and algorithmic programs as computers lack of creative abilities. As a matter of fact computational designs can be a solution for future designs without compromising the future and its natural resources5.

1. 5c4cf9bdbde02210233054%2Fcrossrailplacelatticeroof-fosterpartners-exterior1.jpg 2.Rivka Oxman, and Robert Oxman, Theories of the Digital in Architecture (Abingdon, Oxon ; New York : Routledge, 2014., 2014). 3.http://www.architectmagazine.com/technology/detail/the-lattice-roof-of-crossrail-place-at-canary-wharf_o 4. http://www.architectmagazine.com/technology/detail/the-lattice-roof-of-crossrail-place-at-canary-wharf_o 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 22

CONCEPTUALISATION

fig 2,1

shows the new tecttonic of construction that is designed by computers and is achieved through making prototypes to calculate the numbers size and geometry of the of conections nodes in joinary of the design. this dsigns and its process from being designed to construction is a good exmaple of the on going chnages in architectural designs and construction industries.

1. http://www.architectmagazine.com/technology/detail/thelattice roof-of-crossrail-place-at-canary-wharf_o CONCEPTUALISATION

A.3. COMPOSITION&GENERATION 3.1. Zaha Hadid’s Guangzhou Opera, China 3.2. PARAMETRICISIM /Mumbai T2 Airport INDIA

CONCEPTUALISATION

3.1. Zaha Hadid’s Guangzhou Opera, China

fig 1,the facad of zaha hadid’s guanzhou opera house china, computational design1

Digital technologies and computation in architecture has created the ability for architects to think algorithmically and programme the design in order to achieve generative designs and redefining practice of their architecture. Obviously in this design computation has changed the design process, fabrication and construction of the design. By enhancing the level of precision and creating easier approch to redefine the design practice and generate various iterations .This Computational design is an example of algorithmic thinking, which means that computation is faciliating the design process by letting the designer to modify set of codes that are the language of computer to explore diffrent options in their design process. Indeed,creativity of a designer is translated to computer language,by thinking algorithmically and create their own algorithmic programs. Grasshopper has been a smart software in order the designers can translate what they have in their creative brain to the language of computer2. One of the issue of the computational designs are high cost of construction and lack of longevity According to Antoine Picon, author of Digital Culture in Architecture, computer has a high capasity of transforming almost every designs into a viable constructive assemblage which create the oppportunity for architects to redefine the forms without being concern about their structural implications but in ahigh cost of construction and risk of caulking issues3. As i mentioned earlier,computation in this design has the construction of this design to be possible by prototyping and redefining the design to the desired outcome .For exapmle,the interior of the auditorium is made of Custom moulded glass-fibre reinforced gypsum (GFRC) which express the relation ship between lightweight material that is commonly used in parametric designs and massive scale of the structure, in which parametric computational construction approch has made the fabrication of it possible.

1. http://www.architectsjournal.co.uk/pictures/980x653fitpad[31]/8/3/4/1241834_1062_VSB_GZOPERA__4__low_res.jpg 2 . Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 3. `Architectmagazine, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’ <http://www. architectmagazine.com/Design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>. 26

CONCEPTUALISATION

fig 21 ,view of guangzhou Opera house china

1. http://www.architectsjournal.co.uk/pictures/980x653fitpad[31]/8/1/4/1241814_GOH_exterior.jpg CONCEPTUALISATION

3.2. PARAMETRICISIM /Mumbai T2 Airport INDIA as an example

Fig 1,The exterior of T2, the new integrated terminal at Chhatrapati Shivaji International Airport1

This is a nother example of computational design that is welcomed the design futuring in India.I used this example to explain that parametricicsm is spread worldwide and taking over the traditional method of design and construction. As now architects are able to explore and generate architectural spaces and concepts through writing and modifying of algorithmic program that relates to the elements configuration and relationship between elements of a design.As parametric/computational designs are taking over the architectural and construction industries ,even the work space environment of architecture is changing accordingly. Basically, in workspaces computational design expertise are integrated into design process for consultancy of computational designs. The effect of computation is not only stimulate and communicate of constructional aspects but also it is the creation of a new approach construction of a building.so computation is not only about what to make it is about how to make as well2.

1. ttp://resources2.news.com.au/images/2014/01/13/1226800/407970-eb322a30-7bd1-11e3-897f-d21e3ddd1df9.jpg 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 28

CONCEPTUALISATION

fig 2, Mumbai T2 Airport,modernization of indian airport 1

Now it is good to think about why parametricism is the answer to the design futuring. According to AD. “parametricism is architecture‘s answer to contemporary, computationally empowered civilizationand” which has taken the full advantage of computational revolution2. Also it is the most fascinating style that has adopted the full advances in structural and environmental engineering based computational techniques. Obviously, The new techniques of engineering that is adopted by computational structural tectonic is resulting in less waste and squander of resources.in which no other style than parametricism can approach it. That is why parametricism is known as an answer to the contemporary architecture .By parametric designs future is much less compromised for the sake of present.

1. http://www.e-architect.co.uk/wp-content/uploads/2014/01/mumbai-t2-airport-terminal-t160114-14.jpg 2. Patrik Schumacher, ‘Parametricism 2.0: Gearing up to Impact the Global Built Environment’, Architectural Design, 86 (2016), 8-17. CONCEPTUALISATION

A.4. CONCLUSION A.5. LEARNING OUTCOME A.6. ALGORITHMIC DESIGN

CONCEPTUALISATION

The design approch that is been explained and followd in this journal,emphasis the value of intertwined relationship between sustainability of the planet and resources and the design futuring. It explained why and how we have to change the deconstructive approach that have been using in design and construction industry before to a more sustainable and future friendly design.in which computational /algorithmic designing conjunction with human creative brain is offered as solution and a driving factor toward a sustainable future. Establish of algorithmic thinking and creating parametric designs would rescue the renewable energies by altering the construction methods and usage of materials.

CONCEPTUALISATION

As I am not very good in free hand drawing, in my first year of study I started to learn rhino to help me with designing to communicate my creative ability visually. Gradually, I developed the ability to create digital designs. As I learned more I realised that fabrication of digital designs are so much easier compare to hand drawings designs. Furthermore, I developed my ability to design digitally in digital design and fabrication subject last semester by learning a basic of grasshopper. Now that I learned a bit more of this plug in during this 3 weeks , I realised that design is something beyond the paper and pen. It is a fascinating journey and much more creative outcome will be resulted when I combine the creativity of my brain with Grasshopper plugin precision capability. It increases the complexity of designs and drives the designs into a futuristic design which can meet the need of future.

CONCEPTUALISATION

box morgh

I used helix to create different form of spiral curve and the used cut plane to cut and form them the way that fits the body and of course I used rotation and to fit the curve in the right angle. Then in pair I referenced them in Grasshopper to create a surface loft, after playing with the lofted surface to achieve my desired surface I used extruded star, pyramid, cube and sphere as geometries to propagate my 5 surfaces that I had, according to the body.i really like this design as i think it can reflect the concept of parametric well. Also i claimed that we would arrive to the future that our clothes would be designe dparametriclly so designed something that can express the mentioned idea.

CONCEPTUALISATION

lofting

In this practice 3 application of 3 curves have been used. One of the curls are helix ,as it could create funky surfaces in conjunction with free curves. in this design i like th eodd idea of using helix as my original curve , to create complexed designs and say making this desihn in computer took me only 5 minutes but if i meant to draw it by hand,which would be too far ,it would take days to be achievd ,ofcourse not in this percision. this is simple example of computational design.

CONCEPTUALISATION

octree

octree, In this model i used octree comand on a populated geometry to create veritey of designs,the geometry was sepher. so by changing the parameters i could achive diffrent outcomes. Another design that can show the beauty of computational design.

CONCEPTUALISATION

contour

In this example i used helix as my original curve and loft the curves in grasshopper, then used conture command followed by orient command to give the lofted countour lines diffrent direction in case of prototyping .I beileive this command is a usful command in fabrication of a digital design ,it proves that construction of a design is viable by the help of compoutational softwares.

CONCEPTUALISATION

mesh geometry

Via mesh I could create many different shapes and mesh geometries. I used different forms in rhino and referenced them in Grasshopper as Brep, the weld them and smooth them via different numbers of iteration.at the end I tried to join and connect the iteration to gather to create a concept out of all many different iterations.how to smooth a geometry and creat a mesh to make it ready for 3d printing ahgain a noe approch in construction and fabrication of a design

CONCEPTUALISATION

gridshell /mesh

This is achieved by the help of geodesic comand on the curves that are lofted and the resulted surface being dividedinto points from points i made arcs and changed th eorder of connection between the arcs and the points ,by bang comand which is explode tree.Now i am just facinated to see the outcome of combination of different commands to create something more complexed.

CONCEPTUALISATION

cull pattern

In this dsign i used the box morghed surafces that i used in my parametric garment so i could cull the geometry and create diffrent patterns on the surafces. This command (cull pattern) elaborates the control that a designer can have over his/her digital design by changing th eparameters and achieving diffrent outcomes, or in another word redefining the design untill the best is achieved.

CONCEPTUALISATION

image sampling

CONCEPTUALISATION

Bibliography Arcdaily, <http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>. Arc2o, 2011) <http://www.arch2o.com/icd-itke-research-pavilion-2011-icd-itke-university-of-stuttgart/> Architectmagazine, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’ <http://www.architectmagazine. Design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>. http://www.architectmagazine.com/technology/detail/the-lattice-roof-of-crossrail-place-at-canary-wharf_o http://www.architectsjournal.co.uk/pictures/980x653fitpad[31]/8/1/4/1241814_GOH_exterior.jpg http://www.architectmagazine.com/technology/detail/thelattice roof-of-crossrail-place-at-canary-wharf_o http://www.architectsjournal.co.uk/pictures/980x653fitpad[31]/8/3/4/1241834_1062_VSB_GZOPERA__4__low_res.jpg http://www.e-architect.co.uk/wp-content/uploads/2014/01/mumbai-t2-airport-terminal-t160114-14.jpg http://www.treehugger.com/green-architecture/frank-gehry-gives-finger-98-architects-why-he-should-look-mirror. html1. https://www.batterseapowerstation.co.uk/apps/global-launch/img/live-prospect-place-left.jpg https://pi.tedcdn.com/r/pe.tedcdn.com/images/ted/21138135ad7349568c4b87354201bc917917713e_800x600. jpg?cb=05112016&quality=89&w=800 httpwww.stylepark.comenarchitecturecomputational-design-and-robotic-manufacturing330016 http://inhabitat.com/foster-partners-release-new-images-of-battersea-power-station-as-apartments-go-on-sale-this-month/><?> . httpicd.uni-stuttgart.dep=6553 Hanif Kara, ‘Structural Engineering [Uk Pavilion, Shanghai Expo 2010]’, Architects’ journal, 232 (2010), 41-46. <?> . Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Rivka Oxman, and Robert Oxman, Theories of the Digital in Architecture (Abingdon, Oxon ; New York : Routledge, 2014., 2014). ttp://resources2.news.com.au/images/2014/01/13/1226800/407970-eb322a30-7bd1-11e3-897f-d21e3ddd1df9.jpg The journal of the american institute of architects, ‘London Collaboration between Frank Gehry Partners and Foster ‘, Architect magazine 2014. Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Patrik Schumacher, ‘Parametricism 2.0: Gearing up to Impact the Global Built Environment’, Architectural Design, 86 (2016), 8-17. university of stuttgart, 2012) <http://icd.uni-stuttgart.de/?cat=22&paged=2>.5c4cf9bdb de02210233054%2Fcrossrailplacelatticeroof-fosterpartners-exterior1.jpg

CONCEPTUALISATION

CRITERIA DESIGN

criteria

design design

design

criteria criteria

CRITERIA DESIGN

criteria design b CRITERIA DESIGN

b.1. Research fields

CRITERIA DESIGN

B.1.1 icd/itke research pavilion

fig 1, icd/itke research pavilion at university of stuttgart1

design criteria/ generative design ICD/ITKE research pavilion at university of Stuttgart is one a fascinating example of computational design that highlights characteristics of generative designs by creating a new normative typology in language of architecture. Clearly, this parametric design offers a new approach in construction or fabrication of the full scale design via computer controlled manufacturing method. The complex morphology of the design is based on skeleton of urchin which explains the relationship between biological structures into architecture at full scale. Moreover,the high load bearing capacity in the design is achieved by particular geometric arrangement of the thin plywood plates and their joining system. So this usage of this light weight material which is exposed to structural compression illustrates the relationship between materiality of the design and its unique structure. On the other hand the 100000robotic made finger joints of the plywood is an integral to the structure which is achieved in fabrication lab of the university at low cost. Of course in order to approach the structural calculation of the mentioned design components, computational design software came handy to give precise and accurate data to communicate between the design elements structurally. Lastly,Computational design programs have facilitated architects to use their own programs to create complexed geometries as well as designing the fabrication of it. In this design the language of patterning in a repetitive controlled way is used .computation is an integral element of this design from designing to fabrication, by creating the opportunity to redefine the design and making prototype of the design as design was progressed to test the practice of material and stability of structure2.

1. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-9.jpg 2. http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ 56

CRITERIA DESIGN

fig 3

fig 2

fig (2,3)1 2 show the finger joints of the plywood, and fig (4) express the computationalmodel of the design 3

1. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-18.jpg 2. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-19.jpg 3. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-22.gif CRITERIA DESIGN

b.2 Case study 1.0 Strips & Folding Biothing , Seroussi Pavilion Matrix of exploration & analysis

CRITERIA DESIGN

B.2.1 dandelion /point charge and filed line

NEW CURVES FROM RHINO INTO GRASSHOPPER.

Changed the parameter of curve division

Divide curve between 10 to 35 circles

Changed the parameter of circle radius

Flatten to graft to check the changes.

used line component instead of curves to create straight lines

Circle radius between 3 to 10 and divide the circle into different numbers of points between 8-30 points

Changed curve division

Changed the parameter of curve division

Graft to flatten

Changed the parameter of circle radius

Circle radius is changed

used curves instead of line component between points

CRITERIA DESIGN

line /new set of curves

Changed the Parameters of graph mapper , between -1 to 10 increase the height of the geometry.

Changed the number of the circles

Changed the parameter of curve division

Changed the parameter of circle radius and division points

Changed the parameter of circle radius changed the parameters of the ircle division CRITERIA DESIGN

B.2.1 dandelion /point charge merged with

Divide curve between t0 1 circles

Divide curve between 1-2 circles

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED FROM 4-10.

filed line parameter changed from 43-100

Divide curve between t0 1 circles

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED FROM 1-2

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED

Filed line parameter changed

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surface and mesh geometry

Divide curve between 10 to 15 circles

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED FROM 3 8.

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED

filed line parameter changed from 100-250

filed line parameter changed from 300

Position of the curves changed

GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED

Move component vector is changed GRAPH MAPPER ,PARAMETER OF MOVE COMPONENT IN Z VECTOR IS CHANGED

Filed line parameter changed the amount of curve division is change to 15

Filed line parameter changed

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B.2.1 dandelion process journey

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These are the grass hopper codes that I used to make my B.2 FIRST SPICES THAT I CALL IT DANDELION AS THIS FLOWER IS A FAMOUS FLORA OF MERRI CREEK SITE.

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B.2.1 first exploration analysis

Throughout the exploration of different possibilities from the given definition, I came to the idea of creating one of my case studies in part A (conceptualization) which was seed cathedral pavilion. So in doing that, I could explore more of architectural designs via this definition by breaking it down, adding and subtracting from the definition to achieve something unexpected while it remains conceptual. The analysis of grasshopper definition, gave me the flexibilities in making many iteration by changing the original geometry to design dynamic geometries under the same profile, which was strip and fold. Obviously, computational design software has created the opportunity for designers to achieve a lot of unexpected outcome that could help them in blockbusting in design problems. Essentially I chose theses outcomes as I think they are closer to the idea that I had in term s of designing something conceptual. For instance, in this case I could reach many concepts such as creating the pavilion that I mentioned or even generating designs that has resemblance to the nature .For example in this matrix, the last row is the design that I tied to create a geometry that has similarity to a flower that can represent merri creek site as context. Also it still has the potential of being integrated into designing a garment .

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B.2.2 PHOENIX /matrix / field fundamental itteraion

NEW CURVE WAS REFERENCED IN GRASSHOPPER FROM RHINO RADIUS OF CIRCLES AS WELL AS THE NUMBER OF THEM HAS CHANGED TO ACHIEVE MORE SEPARATED CIRCLES.

GRAPH MAPPER PARAMETER IS CHANGED THE HEIGHT OF THE GEOMETRY IN ALL DIFFERENT VECTORS Graph mapper curve selection is changed from multiple of and b to plus and minus.

GRAPH MAPPER PARAMETER IS CHANGED

The graph mapper parameter we change dto 19

THE HEIGHT OF THE GEOMETRY IN ALL DIFFERENT VECTORS

The vector of move component is change

Move component is changed

The radius of circles are changed . the number of curve divisions are changed

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itteraion/new set of curves

MOVE PARAMETER WAS CHANGED FROM -1 to 1 GRAPH MAPPER PARAMETER IS CHANGED THE HEIGHT OF THE GEOMETRY IN ALL DIFFERENT VECTORS

GRAPH MAPPER PARAMETER IS CHANGED THE HEIGHT OF THE GEOMETRY IN ALL DIFFERENT VECTORS Radius of circle and amount of the circle s are change

The graph mapper parameter we change dto 19 The vector of move component is change The radius of circles are changed . the number of curve divisions are changed

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B.2.2 PHOENIX / field fundamentals merged with

IN TH E SECOND HALF OF The DEFINITION I USED AGAIN SURFACE GRID AND MESH GEOMETRY ON THE SAME PARAMETERS THAT I USED FOR THE FIRST 7 IMAGES, TO GENERATE DYNAMIC GEOMETRIES.

CRITERIA DESIGN

with surface grid and mesh geometry

BY CHANGING THE PARAMETERS of the graph mapper and move component ,I TRIED TO ACHIEVE A PHOENIX shape geometry From the SURFACES AND THE CURVES.

CRITERIA DESIGN

B.2.2 PHOENIX process journey

THIS BOX IS MY EFFORT IN MIXING AND ADDING the grid SHELL DEFINITION S INTO MY GIVEN DEFINITIONS IN WHICH IT WAS NOT SUCCESSFUL. 72

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B.2.2 PHOENIX ,analysis

In this design still the idea of conceptuality as well as creating unexpected outcome is explored. Experience of merging and practicing with different grasshopper definitions to create desired geometry was the main key that I took from this exercise. I achieved many different designs that each had different dynamic but has the same spices. It is interesting that in algorithmic designs by adding or removing couple of components or codes we can achieve very different results. For example from a curvature coming to straight lines and geometrically different forms that each can represent particular concepts. The practice of margining and combining different definitions helped me to be more confident in working with grasshopper to create more of the architectural designs that I had in my mind. In other word this software was my breadth brain that leaded me towards funky designs that I really liked. I created many iteration and it was very enjoyable to design via this merging method of definitions but being short in time made me limited, otherwise I could create hundreds of designs by merging different definitions.

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B.2.3 NATURE /matriX POINT CHARGE AND FIELD

USED LINE COMPONENT INSTEAD OF INTERPOLATED CURVE

CHANGED THE PARAMETERS OF THE CURVE DIVISIONS INTO POINTS .

CIRCLE RADIUS AND MUMBLER OF The CIRCLES ARE CHANGED

CHANGED THE GRAPH MAPPER Z VECTOR TO 20 THIS TIME SO I COULD GENERATE A GEOMETRY WITH DIFFERENT HEIGHTS.

CIRCLE RADIUS AND MUMBLER OF The CIRCLES ARE CHANGED

CHANGED THE GRAPH MAPPER PARAMETERS

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LINE/ new set of curves

THE RADIUS THE RADIUS OF THE OFCIRCLES THE CIRCLES WEREWERE CHANGED CHANGED CONSTANTLY CONSTANTLY TO CREATE TO CREATE DIFFERENT DIFFERENT ITERATIONS. ITERATIONS. THE MOVE THE MOVE POINTS POINTS COMPONENT COMPONENT CHANGED CHANGED AS WELL AS WELL TO TO CREATE CREATE THE SEPARATED THE SEPARATED FORMFORM OF THE OFPOINT THE POINT CHARGE CHARGE . .

CIRCLE RADIUS AND MUMBLER OF The CIRCLES ARE CHANGED CHANGED THE GRAPH MAPPER Z VECTOR TO 10 THIS TIME SO I COULD GENERATE A GEOMETRY WITH DIFFERENT HEIGHTS.

CIRCLE RADIUS AND MUMBLER OF The CIRCLES ARE CHANGED

CHANGED THE GRAPH MAPPER PARAMETERS

THE MOVE POINTS COMPONENT CHANGED AS WELL TO CREATE THE SEPARATED FORM OF THE POINT CHARGE .

CRITERIA DESIGN

B.2.3 NATURE /matriX POINT CHARGE AND FIELD

I MERGED CULL PATTERN TO THE MOVE POINTS OF THE CIRCLES AND ALSO TO THE POINTS LIST OF The CIRCLE DIVISIONS,SO I COULD

I USED DIFFERENT HEIGHTS FROM GRAPH MAPPER WHILE I KEPT CULLING THE POINTS AS DIFFERENT ORDERS A SUCH AS THE PATTERN

WHILE I WAS CHANGING THE CULLING PATTERN I TRIED TO CHANGE THE RADIUS OF THE CIRCLES AS WELL AS THE DIVISION OF THE CU AT THIS STAGE I KEPT THE HEIGHT OF THE GEOMETRY IN GRAPH MAPPER IN Z AXIS TO 0 TO JUST CREATE DIFFERENT PATTENS VIA THE PLEASE REFERRER TO NEXT PAGE TO SEE MORE ITERATIONS

CRITERIA DESIGN

LINE MERGED WITH CULL PATTERN AND VORONEI

D CREATE LOVELY OUTCOMES .

N THAT IS USED IN THE DEFINITION OF THE GREEN BOX

URVES ON CIRCLE TO CREATE DIFFERENT OUT COMES. FIELD CHARGE CURVES AND CIRCLE POINTS

CRITERIA DESIGN

B.2.3 NATURE /matriX POINT CHARGE AND FIELD

CHANGED THE PARAMETERS IN GRAPH MAPPER TO GIVE HEIGHT TO The MOVED CURVES STILL I KEPT CHANGING THE PARAMETERS IN CULL PATTERING THE RADIUS AND NUMBERS OF THE CIRCLES

CRITERIA DESIGN

LINE MERGED WITH CULL PATTERN AND VORONEI

CRITERIA DESIGN

B.2.3 NATURE process journey

KEPT CHANGING THE PARAMETERS OF The CONDITION OF THE CURVES AND POINTS SUCH AS FLATTEN OR GRAFT THEM UNTIL I ACHIEVED RED BALLOON. TO THE DEFINITIONS OF THE GREEN BOX,WHEN I FLATTENED MY CURVES THE VORONIE COMPONENT FAILED TO FUNCTION AS THE DATA THAT I ENTERED WASN’T IN CORRECT RELATIONSHIP WITH OTHER DATUM.

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B.2.3 neture analysis,

As it is self-explanatory in all of the previous explorations include this one, I started with changing the parameters and exploring via the potentiality of each component of the algorithm, and gradually moved towards adding and subtracting from the definition to create different outcomes. Lastly, I tried to merge the given definition with some new ones include the definitions that I used to create geometries in my algorithmic sketch book, to generate something far different to the original geometry that definition could generate. In order to choose a particular definition to merge with my own definition I had to think about the design problem that I had with the actual definition so accordingly I chose the needed definitions. For example I was thinking of creating a geometry that can be used as an element of a garment while it is reflecting Merri creek site. So I ended up using voronie with cull pattern components to give me more flexibility to create more architectural designs,Off course something that can be built or can be achieved via prototyping.

CRITERIA DESIGN

B.2.4 MILK WAY/matrix /POINT CHARGE MERGE

FOR THESE 4 IMAGES I REFERENCED A NEW SET OF CURVES AND MERGED THE POINT CHARGE WITH SPINE FORCE COMPONENT MOVE THE POINTS OF THE CURVES IN X Y AND Z DIRECTION AT THE SAME PARAMETER AS GRAPH MAPPER. THEN CHANGED THE PARAMETER OF THE GRAPH MAPPER .IT GENERATED DIFFERENT OUTCOMES AS IT IS SHOWN IN THE IMAGES MAINLY THE GRAPH MAPPER PARAMETERS ARE CHANGED TO CREATE DIFFERENT HEIGHT . AS THE ORIGINAL SET OF CURVES ARE DRAWN IN DIFFERENT AXIS SO THE RESULT CAME TO BE SEPARATED AT SOME ITERATIONS ALSO I CHANGED THE NUMBERS OF CIRCLES SO IT GAVE ME A LINE OF CIRCLE S WITH SPINE FORCE TO CREATE A SPINE LOOK OF CIRCULAR CURVES

FOR THESE 4 IMAGES I MERGED SPINE FORCE INTO THE POINT CHARGE DEFINITION AS WELL AS CULL PATTERN AND VORONEI3D. I KEPT THE PARAMETERS OF THE CULL PATTERN SAME AS NATURE ITERATIONS. ADDED SPIN FORCE TO THE POINT CHARGES TO CHANGE THE DIRECTIONS OF SPIN THE VECTOR

CHANGE THE PARAMETERS OF THE CIRCLE RADIUS ,AND USED CULL PATTERN ON THE NUMBERS OF The CIRCLES SO THE OUTCOME WAS NICE AND DIFFERENT EACH TIME THAT I CHANGED THE PARAMETERS OF THE GRAPH MAPPER IS CHANGED BETWEEN 1-20 TO CREATE DIFFERENT HEIGHTS I CHANGED THE POINT LIST PARAMETERS BY CHANGING THE CURVE DIVISION TO CREATE DIFFERENT OUTCOMES VIA CULL PATTERNING. 86

CRITERIA DESIGN

ED WITH SPIN FORCE/ NEW SET OF CURVES

E PATTERN OF CULLING

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B.2.4 MILKWAY process journey

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B.2.4 milk way analysis, As conclusion, Via exploring different possibilities from a design algorithm I came to this idea that thinking algorithmically and mathematically can help to achieve different outcomes in an algorithmic Design. It is important to realize the relationship between the components of the algorithm in order to create potential designs out of the algorithms. For example in all of my exploration I highlighted the potential designs in relation to my given algorithm. For instance, my designs had resemblance to nature while it could be synthesized in garment design process.

CRITERIA DESIGN

b.3. Reverse engineering Strips & Folding ICD /ITKE RESEARCH Pavilion

CRITERIA DESIGN

DIAGRAMS OF ICD ITKE RESEARCH PAVILION: 1. ORIGINAL FORM AND STRUCTURE OF THE PAVILION 2.THE INTERSECTION LINES 3.THE VECTOR OF THE SURFACE AND LINES 4.THE HINTS FOR FABRICATION OF THE STRUCTURE 5.EXPLORATION OF THE TECHNIQUE THAT IS USED IN THIS DESIGN WHICH IS STRIPS AND FOLDING 6.EXPLORING THE OF COMPUTATIONAL PROCESS OF THE DESIGN 7.EXPLORING TECTONIC OF FABRICATION AND

CRITERIA DESIGN

B.3. stage 1

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•

I started with creating the form of the ICD research pavilion via field charge.

•

Then changed the parameters of graph mapper until I achieved the desired form

•

The I offset the created curves and loft them

•

I realized that the loft is taking place through all the curves and the outcome was only a donut shape

CRITERIA DESIGN

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In order to access the individual curves I used explode tree and then I loft between the curves.

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Moved the surfaces in all the vector direction to find the correct vector for the moved surfaces.

•

The intersected the moved surfaces with the original surfaces.

•

But the result wasn’t really what I desired. CRITERIA DESIGN

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• So I divided the curves into points and cull every second points to create a pattern weave between the points • Then I created an interpolated curve between the culled points and extruded them in different vector directions until I achieved the desired outcome •

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But still I was not successful in achieving the required outcome,please refer to the images 1-12

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I offset the surfaces and intersected with the original surfaces

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I repeated the offsetting and move few times in different directions until I achieve the desired out come

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But I was unsuccessful

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B.3. stage 2

Started researching more about the case study

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•

Realized that the surfaces are having a slightly wave through them

•

So it looks like that they are two sets of curves that are connected via arc

•

And the arcs have a little wave on them like one curve is going in and while the other is coming out

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So I attended the technical help which was extremely helpful

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I was advised that the best is to use 2 set of circles and draw arc in between of them

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Divide the curves into points and explode the branches

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Created arc between the points and cull between the arcs on in and one out

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Now that I have 2 set of culled curves

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I grafted the curves to get them in one branch

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And simplified the curves to keep the date clean

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I divided the curves into points and culled every second points

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I invert on the list of the points pattern inverted to make the cull pattern reverse for the other set of points on the arc

CRITERIA DESIGN

•

I repeated the culling step for the other curves that I created from the culled arcs

•

From there I had to find my closest point on my curve to start finding the tangent of the curve on 5 points on the curve

•

So I was advised by tech help that to find the tangent first I need to evaluate curve at a parameter

•

Then I could check the curve for planarity to check if the points are in order and fine the direction of them ,

• so I could create a line between closest point on curve as start, direction based on curve plane, and tangent from evaluated curve at a parameter •

I repeated the above mentioned stage for the other set of curves that I had

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• So now in order to create a wave through my curves to show that one segment of curve is gone in and one segment has come out I used amplitude command in grasshopper at a certain parameter so I change the parameters from 0.3 to 3 to create 5 weaves through the curves. •

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At this stage I had a bit of trouble to create a desired wave through my points.

CRITERIA DESIGN

• I tried move and offset the amplitude points ,so realized if I rotate the vector of the points along axis and move them based on the amplitude parameters and vector I could create a successful set of points ready to be curved between • I was advised by the tech help that I could use weave command in grass hopper to create a weave pattern between my points based on the cull pattern •

I repeated all the stages for other culled curve but in reverse manner

•

Finally I created interpolate curve between my weaved points of the culled curves

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•

And extruded them based on the vector direction of the line that I created earlier.

•

So the result wasn’t what I really wanted at the start

•

I changed the parameters and checked the outcome by baking the geometry in rhino

• I ended up increasing my curve divisions as well as increasing the thickness of the surface in order to create right intersection between the curves.

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Here is the out come

•

Thanks to tech-help specially Chen for all the valuable advice.

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b.4. TECHNIQUE DEVELOPMENT

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B.4.1

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FIELD LINE AND POINT CHARGE

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•

A CIRCLE WAS REFRENCED IN GRASSHOPPER

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POINT CHARGE AND FIELD LINE USED

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CHANGED THE PARAMETERS OF CIRCLE

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NUMBERS OF CURVE DIVISION

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MOVED THE CURVES

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CHANGED THE PARAMETERS OF GRAPHMAPPER FROM -1 TO 3

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B.4.2 FIELD LINE AND POINT CHARGE MERGED WIT

1. Changed THE CIRCLE RADIUS 2.CHANGED THE GRAPH MAPPER PARAMETERS 3. COPIED THE GRAPH MAPPER TO CREATE 2 SET OF CURVES THEN MOVED THE CURVES AND PIPED THEM

1. Changed THE RADIUS OF CIRCLES 2.CHANGED THE GRAPH MAPPER PARAMETERS 3. COPIED THE GRAPH MAPPER TO CREATE 2 SET OF CURVES THEN MOVED THE CURVES AND PIPED THEM

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CRITERIA DESIGN

TH CULL PATTERN AND MOVE

1.. CULLED THE CURVES 2. MOVED THE CURVES 3.CHANGED THE PARAMETERS OF THE GRAPH MAPPER FROM -1 TO 3 3. LOFT BETWEEN TH E CURVES

1. Changed THE RADIUS OF CIRCLES 2.CHANGED THE GRAPH MAPPER PARAMETERS FROM 1 TO 10 3. COPIED THE GRAPH MAPPER TO CREATE 2 SET OF CURVES THEN MOVED THE CURVES AND PIPED THEM

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1. ChangeD THE CIRCLE RADIUS 2.CHANGED THE GRAPH MAPPER PARAMETERS FROM -1 TO 3 3. LOFTED BETWEEN THE MOVED CURVES AND CULLED CURVES. 4. COPIED THE GRAPH MAPPER STEPS AND CREATED 2 SET OF CURVE S IN DIFFERENT HEIGHT

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CRITERIA DESIGN

1. DRAW A CURVE AROUND A BODY MESH 2.USED POINT CHARGE AND FIELD LINE THEN MERGED FIELD 3.I COPIED THE GRAPH MAPPER STEP AND CREATED 2 SET OF CURVES 4.I CHANGED THE PARAMETERS OF The GRAPH MAPPER FROM -1 TO 10 5.CULLED THE CURVES IN DIFFERENT PATTERNS AND MOVED THE CURVES,THEN LOFT BETWEEN THEM OR PIPED THEM 6. CHANGED THE PARAMETERS OF GRAPH MAPPER 7.CHANGED THE RADIUS OF CIRCLE AND THE AMOUNT OF CURVE DIVISION POINTS

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B.4.3 WEAVE AND AMPLITUDE WITH CULL PATTERN

1. CHANGED THE AMPLITUDE PARAMETERS FROM 0.5 - 20 2.CHANGED THE LINE LENGTH THAT IS BASE OF THE LOFT PARAMETERS

1. CHANGED THE AMPLITUDE PARAMETERS 2. PARAMETERS OF LOFT IS CHANGED

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1. CHANGED THE AMPLITUDE PARAMETERS FROM 0.5 - 20 2.CHANGED THE LINE LENGTH THAT IS VECTOR OF DIRECTION AND SIZE OF LOFT SURFACES

1. PATTERN OF WEAVE IS CHANGED 2. PARAMETERS OF LOFT IS CHANGED

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1. CHANGED THE AMPLITUDE PARAMETERS 2. PARAMETERS OF CURVE DIVISION IS CHANGED

1. CHANGED THE AMPLITUDE PARAMETERS AGAIN 2. THE NUMBERS OF CURVES ARE CHANGED. 140

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DRAW A RECTANGLE AROUND THE UPPER LEVEL OF THE MESH BODY

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DRAW A CIRCLE THE BOTTOM LEVEL OF THE MESH BODY

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DIVIDED THE CIRCLE AND RECTANGLE INTO POINTS AND ARC BETWEEN THEM

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USED CULL PATTERN TO CULL THE POINTS IN DIFFERENT PATTERNS

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USED AMPLITUDE VECTOR TO CREATE WAVE AND ALSOE WEAVED THE CURVES

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THEN MOVE THEM AND DRAW CURVE BETWEEN THEM

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LOFT BETWEEN THE 2 SETS OF CURVES(ARCS)

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CHANGED THE PARAMETERS OF AMPLITUDE AND LINE LENGHTH TO HAVE AN EFFECT ON THE LOFT SURFACE

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B.4.4 WEAVE AND AMPLITUDE WITH CULL PATTERN

1. NEW SET OF CURVES AROUND BODY MESH USED IN FILED CHARGE 2. CHANGED THE GRAPH MAPPER TO CREATE DIFFERENT HEIGHT 3. MOVE OFFSET AND ROTATED THE CURVES TO

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N/ OCTREE / VORONIE

1.USED THE RESULTED SURFACES FROM LAST STAGES AND USED OCTREE TO CREATE SET OF BLOCKS 2. I USED CULL PATTERN AND VORONIE TO CREATE THE IMAGE BELOW .

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B.4.5 WEAVE AND AMPLITUDE WITH CULL PATTERN

1. NEW SET OF CURVES ARE REFERENCED 2. THE LENGTH AND THICKNESS OF LOFT SURFACE CHANGED. 3.THE PATTERN OF WAVE THROUGHOUT THE CURVES ARE CHANGED VIA WEAVE AND AMPLITUDE.

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N/ NEW CURVES 2

1. THE PARAMETERS OF AMPLITUDE VECTOR IS CHANGED FROM 1 TO 25 2. THE LENGTH AND THICKNESS OF LOFT SURFACE CHANGED. 3.THE PATTERN OF WAVE THROUGHOUT THE CURVES ARE CHANGED

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1. 2 SETS OF HEXAGON REFERENCED IN GRASSHOPPER 2. THE LENGTH AND THICKNESS OF LOFT SURFACES ARE CHANGED. 3.THE WAVE THROUGHOUT THE CURVES ARE CHANGED VIA WEAVE AND AMPLITUDE.

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B.4.6 WEAVE AND AMPLITUDE WITH CULL PATTERN

1. CHANGED THE AMPLITUDE PARAMETERS CHANGED TO 0 2. THE NUMBERS OF CURVES ARE CHANGED. AS WELL AS THE Length OF THE LOFT SURFACE

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N WITH NEW CURVES 1

1. CHANGED THE AMPLITUDE PARAMETERS CHANGED FROM 1 TO 71 2. THE NUMBERS OF CURVES AND LOFT Length ARE CHANGED.

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1. THE ORDER OF REFERENCING CURVES IN GRASSHOPPER WAS CHANGED 2. THE LENGTH AND THICKNESS OF LOFT SURFACE CHANGED.

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•

DRAW 2 OVAL CURVES AROUND A BODY MESH.(UPPER BODY AND LOWER BODY)

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USED DIVIDE CURVE TO POINTS

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ARCED BETWEEN THEM

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CULL THE EVERY SECOND POINTS

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USED AMPLITUDE AND WEAVE TO CREATE A WAVE THROUGH THE CURVES

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CULLED THE CURVES ,MOVE AND ROTATE THEM

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LOFTED BETWEEN THE CURVES

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THEN STARTED TO CHANGE THE PARAMETERS OF THE AMPLITUDE

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NUMBERS OF CURVES

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NUMBERS OF POINTS

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NUMBERS OF LOFT LENGTH

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B.4.7 VORONIE 3D AND FIELD FUNDAMENTAL A PA

DESIGNED A PATTERN ON THE GARMENT SURFACE WITH VORONIE 3D CHOSE A SEGMENT OF THE VORONIE PATTERN TO BE EXTRUDED USED FILED FUNDAMENTALS TO CREATE NEW PATTERN IN ORDER TO BE ETCH ON EACH SURFACE OF The VORONIE EXPLORED THE POSSIBILITIES OF WAYS TO LAY THE FILED FUNDAMENTAL PATTERN ON THE VORONIE

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ATTERN ON THE GARMENT

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THIS IS THE FINAL DEVELOPMENT THAT I CONSIDERED AS MY DESIGN INTERIM . IN THE NEXT STEP I WILL FABRICATE A SEGMENT OF THIS DESIGN TO ASSIST ME IN TERM S OF DEVELOPING MY DESIGN FURTHER .I BELIEVE THAT PROTOTYPING IS A GREAT WAY TO HELP ME IN SOLVING MY DESIGN PROBLEMS IN TERMS OF STRUCTURE AND AESTHETIC.

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b.5. Technique prototype

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B.5. PROTOTYPE

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POLYPROPYLENE STRIPES WERE LASER CUT WITH DIFFERENT DISTANCE BETWEEN NOTCHES TO EXPERIMENT PROTOTYPING OF ONE OF THE DESIGN DEVELOPMENTS

STARTED TO JOIN THE NOTCHES TO CREATE THE FORM. I USED FOAM BOARD AND METAL WIRE TO KEEP THE STRUCTURE STAND ON IT. THE OUTCOME WAS SUCCESSFUL

EXPERIENCED DIFFERENT MATERIAL TO CHECK IF I COULD ACHIEVE A BETTER CURVATURE THROUGH THE ARCS. SO I USED BAMBOO VENEER 1.6mm THICK TO BE LASER CUT SOME OF The STRIPS OF The STRUCTURE.

THIS IS THE FIRST OUTCOME AND NOT TOTALLY SATISFYING .AS I COULD NOT CREATE SMALLER ARCS THAT MATCH THE RADIUS OF ARCS IN THE GARMENT DESIGN. I TRIED TO BEND THE STRIPS WITH SMALLER RADIUS......

CRITERIA DESIGN

THE OUT COME WASN’T REALLY SUCCESSFUL AS BAMBOO VENEER IS VERY FRAGILE AND HAS A SPECIFIC BENDING MOMENT. SO IT COULDN’T RESIST UNDER COMPRESSION FORCES.

I USED A METAL CLIP TO MAINTAIN THE ARCS IN A SPECIFIC HEIGHT ,BUT IT LACKED AESTHETIC.

I FOUND THAT BAMBOO VENEER IS NOT A VERY GOOD CHOICE AS IT IS NOT FLEXIBLE, LOW BENDING MOMENT, EXPENSIVE MATERIAL,AND VERY LIMITED POSSIBILITY FOR USING VERITY OF JOINTS, AS IT IS SOME HOW FRAGILE.

I STILL DIDN’T GIVE UP ON THE BAMBOO VENEER. I ALTERNATED WITH POLYPROPYLENE STRIPS THAT I HAD, TO CHECK IF I CAN ACHIEVE RIGHT RADIUS OF ARC BETWEEN THE STRIPS ACCORDING TO MY DESIGN.

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B.5. PROTOTYPE

EXPERIENCED DIFFERENT MATERIAL TO CHECK IF I COULD ACHIEVE A BETTER CURVATURE THROUGH THE ARCS. SO I USED BAMBOO VENEER 1.6mm THICK TO BE LASER CUT SOME OF The STRIPS OF The STRUCTURE.

STARTED WITH POLYPROPYLENE MATERIAL AGAIN AS IT COULD NICELY BEND WAS EASIER TO WORK WITH .I LASER CUT STRIPS WITH SPECIFIC NOTCHES TO CREATE THE DESIRED ARC .

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EXPERIENCED DIFFERENT MATERIAL TO CHECK IF I COULD ACHIEVE A BETTER CURVATURE THROUGH THE ARCS. SO I USED BAMBOO VENEER 1.6mm THICK TO BE LASER CUT SOME OF The STRIPS OF The STRUCTURE.

THIS IS THE OUTCOME, THAT I WAS VERY HAPPY WITH. I WAS SUCCESSFUL IN CREATING THE RIGHT CURVATURE THROUGH THE STRIPS AND DESIRED RADIUS OF ARCS.

THE PHOTO SHOWS THE ACHIEVED ARCS,AND THE JOINTS OF THE NOTCHES

THE PHOTO EXPRESS THE RELATION SHIP BETWEEN THE ARCS .

I LASER CUT THE VORONIE PATTERN THAT I CREATED BEFORE ON BAMBOO VENEER WHILE IT HAS THE FIELD FUNDAMENTAL PATTERN ETCHED ON THE EACH BLOCK.

I USED FOAM AND GLUE AS MY FIRST EXPERIENCE IN JOINING THE BLOCKED TOGETHER WAS SUCCESSFUL .AS FOAM BOARD IS STRONG Enough TO RESIST THE TENSILE FORCES .

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B.5. PROTOTYPE

I TIRED WIRE AS ANOTHER EXPERIMENT OF JOINTS IN JOINING THE VORONIE PATTERNS TOGETHER .IT WAS NICE A GOOD CHOICE HOWEVER IT WAS HARD AND COULD RESULT IN BREAKING THE HOLES ON THE BAMBOO.

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AT THIS STAGE , I STARTED TO JOIN THE 2 SETS OF VORONIE LEAF SHAPE THAT I HAVE TO GATHER VIA METAL WIRE. AS IT COULD GIVE A GOOD ROTATION MOMENT TO THE STRUCTURE WITH OUT BEING BROKEN OR BEND UNEXPECTEDLY.

HERE WE ARE ,I HAVE NOW TWO READY COMPONENT TO JOIN FIRST IT IS THE VORONIE PATTERN IN WHICH IT IS THE TOP PART OF MY DESIGN ,AND THE BOTTOM PART WHICH IS THE POLYPROPYLENE STRIPS OF PATTERN USED A PAIR OF STRAIGHT ANGLE BRACKET NOTCH AND GLUED IT ON THE POLYPROPYLENE STRIPES And JOINT THE VORONIE PATTERN TO IT WITH WIRE THAT WAS PASSED THROUGH THE HOLES.

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B.5. PROTOTYPE

My prototype was successfu ans stability. I think it could s designed it however I would more about material of the p more about bamboo veneer in my further prototypes in t Over all what I learned :

How to design base on avail

How to create stability for th design

Relationship between struct resistance of the material Aesthetic

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ul in term of structure stand the way that I d need to investigate prototype I should study r material to be applied the upcoming stages.

lable materials

he structure of the

ture of the design and

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b.6. DESIGN PROPOSAL

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From my b4 technique development by manipulating my reverse engineering project I approached a design that was based on my site analysis and the garment design criteria. I made a prototype of this design to study more about ways that a design can be developed according to the prototype. I chose this design to be submit as my interim design as I thought it has a new criteria of design which was integrating to system in to achieving one outcome. The structure of my design was something that I was really fascinated in. As I went through a lot of study in terms of designing a parametric design that can features an organic site such as Merri Creek .The idea was about reminding a site user the history of the site. According to the feedback that i had during the presentation and the prototyping experiment I started to develop my design into a more polished design as my proposal design .Indeed I started a new study about merri creek ,my site analysis which is the most important criteria of my designis based on Merri Creek site.

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B.6. SITE ANALYSIS

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DESIGN CRITERIA IN RELATION TO SITE THIS PARAMETRIC GARMENT STRUCTURALLY REPRESENT THE ORGANIC OF THE WATTLE TREE IN MERRI CREEK. THE DESIGNED GARMENT DEPICTS THE CLUSTER OF PENDULANT BRANCHES. THE GARMENT PORTRAYS THE SUSPENTION STANCE OF THE WATTLE TREE IN THE SITE. THE PROPOSED DESIGN CAN BE USED ALSO USED AS A PAVILION IN THE FORM OF GARMENT IN THE SITE TO REMIND THE GRANDEUR OF THE MENTIONED TREE OF THE SITE.

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B.6. DESIGN DEVELOPMENT

This is developed version of my last design that i made the prototype of it. From that stage I started to refresh my design base on the new site analysis and also the feed back from the presentation . This parametric design is exploring the idea of representing nature as I was inspired by the wattle tree as its organic form of the tree is shaped parametrically .I thought my design can explore the cluster of the pendulant branches of the tree and they are sort of strip and folding system. If I assume that a branch is my curve and if I add to the parameters of the curve I can create more of the branches ,by changing amplitude of my curves I can create the fluidity of the tree in total. So this tree of the site was a good inspiration for my garment design. Also I went through some parametric designs that the fabrication and modelling technique is strips and fold.

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b.7. LEARNING OBJECTIVES &OUTCOMES

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B.7. LEARNING OBJECTIVES & OUTCOMES I became more familiar and skilled in grasshopper software by exploring computational process of parametric designs and manipulating and developing parametric designs definitions to approach different iterations and make it my own design. For me , working with different grasshopper design codes is a fantastic way of learning grasshopper ,as when I change the parameters of the components in grasshopper definitions I could understand and learn practically what that component dose. Reverse engineering project was really educative as well, as I think I could improve my computational skill in design process. The main focus of this studio for me was learning more and more about grasshopper, so i could use this generative design tool in my future designs. Lastly, I think grasshopper can lead architecture into unlimited level of sustainable parametric designs. Learning and exploring new techniques in fabrication via prototyping was another interesting approach of part B. During this phase I experienced the relationship between materials and joint systems between components as well as safety and longevity of the joints. Furthermore, I understood how materials constrain a design and how to design base on available materials.

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b.8. ALGORITHMIC SKETCH DESIGN

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B.8. panelling surface and vector field

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B.8. tetrahedran

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B.8. field fundamentals

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bibliography http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-9.jpg https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-22.gif https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-19.jpg https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-18.jpg http://www.iaacblog.com/programs/icditke-research-pavilion-2010/ https://www.lyst.com/clothing/comme-des-garcons-noir-kei-ninomiya-woven-shift-dress-black/ http://www.weekendnotes.com/im/009/06/imag00671.jpg https://s3-media1.fl.yelpcdn.com/bphoto/nml1xGUahqN9D7D193ythw/ls.jpg ttps://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Merri_creek.JPG/1280px-Merri_creek.JPG https://s-media-cache-ak0.pinimg.com/736x/06/80/61/0680618c3fd40e1e6444bfc5b688f1f2.jpg

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detailed

design

detailed detailed

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detailed design c DETAILED DESIGN

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c.1. Design concept

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soodi’s design part b

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Zeb’s design, part b

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MERGING IDEAS

Merging three design concepts to form the idea of a pavilion as architectural garment or a wearable garment for the specific clients in the site. We considered the feedback of proposed design of part b to shape and narrow down our ideas into one single concept for garment design. After hours of contemplation the group was agreed to take further the idea of designing a garment for people in Merri creek site who found guilty of environmental degradation,so they are punished with wearing our garment proposal, in doing so they become the ‘Merri Creek Scarecrow”. We decided to define our idea by the interaction of two tectonic systems : structural strips and the over laid triangles which when repeated can achieve patterns. Therefore we used these elements to explore design possibilities based on the mentioned elements.

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c.1.design concept 1

it wraps around the body we movement of the arms. We d form that responds to the bo garment forms. We also thou and achieve this restricting f body, which is why we have of the shoulder.

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well with potential to restrict desired a dynamic and organic ody whilst subverting conventional ught it would be interesting to try form without covering the whole e left a small gap around the front

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c.1.design concept 2

The first concept shows a greater contrast between the second form is more s less potential to be develo garment.

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a more organic form with n the two systems, while symmetrical and has oped into a restrictive

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c.1. Design concept 2 development

we developed the triangle second concept .it is basica piece .

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es and the strips of the ally dsigned to as arm

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c.1. Design concept 2 selected

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DESIGN CONCEPT 2 IS SELECTED. According to the feedback that we had, we chose design concept 2 in order to develop more in terms of fabrication. The diagram shows how a base surface was constructed in response to the body, which was used as a starting point to build the geometries from over the base.

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c.1.design developmet

The photos explain the design, in which the str terms of planarity, to en system of the triangles are patterned to the ou zag to respond to the t maintaining a smooth the body.

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e development of the rips are developed in nhance the joining s on the strips. Also they utside curve with zig triangles form ,whilst curve on the inside, for

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c.1. Diagram of design developments grasshopper

This definition belongs to design concept 1. The twisted strips and triangles maped over.

This diagram belongs development of concept 2 ; The arcs that have triangles mapped over 212

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This diagram belongs develop

grasshopper definitions

pment of concept 1.

This diagram belongs to design concept 2 That maps the triangles over the strips .

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c.1. refined concept design

DEVELOPED STRIPS INTO DIFFERENT PATTERN THICKNESS

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Diagram ofrefined concept for fabrication At this stage we set our design to get ready for fabrication phase . As we still were unclear about joining system of the strips to gather as well as joint of the 3d triangles. Indeed we decided to prototype our design and develop the design and the details more in terms of structure and joining system after prototyping. The diagrams explains the detail elements of our design and exploration of possibilities in terms of strip pattern in relation to 3d triangles.

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c.2. Tectonic elements & prototype

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c.2. fabrication and prototype

Diagram of the geometries that we made ready for fabrication

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prototype experimentation 1 We prototyped 3 different iterations of Strips. By prototyping the thinner set, we decided on the thickness of the strip to check how thin we could go without the material failure (fig.1). Then we had a smoother and more curved zig zag so we could test the visual relationship between the strips and the triangles. We observed that too many angles and spikes may result in clashing with 3d triangles in terms of aesthetic (fig.2).So,We did the smooth set to test if that can simplify the joint system of the triangles to the strips .

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The joint system for the strips was made by threading an eyelet through the perspex, then looping nylon around, before closing the eyelet with a hammer. We encountered a few problems with this system: 1. The strips were not held in the orientation and position that we’d intended.2. Hammering sometimes cracked the perspex. 3.the strips couldn’t be as close together as we’d hoped as if they were it blocked access for hammering . The joint system worked, and looked nice, but it was not that appropriate for our design intentions, as we desired something more rigid.

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FIG (1)

FIG (2)

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c.2. fabrication and prototype

DOUBLE CURVATURE NET FABRICATION

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prototype experimentation 2 With the triangles we were testing net fabrication. Our goal was to create non planar triangles, utilising the bending properties of polypropylene. We were unsuccessful as the triangles we were trying create had double curvature, and therefore would not form correctly. We tested different glues but still we were not clear that how we are going to locate and joint the triangles to the strips.

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c.2. design development after prototype (STR

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RIPS)

Design development based on prototype experimentation 1 After prototyping of the strips we developed the zigzag patterned strips , as they look more dynamic and in harmony with 3d triangles than smooth pattern. Also we decided to increase the thickness(width) of the strips to avoid breakage. As the strips are our structural integral element of the design, we had to start with developing the strips and make them completely planner in relation to each other to design a new joint system. Also We need to develop a rigid joint system as it fits our concept better and creates more stability for the structure.

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c.2. design development after prototype (TRI

Triangles on the garment surface

Triangles on thinner surfaces to avoid the stretch of the origamis

Decre create

Changed the height of the origamis and added to dynamic and planarity of them by using different surfaces on the body

Used different surfaces via contour lines to create more planarity

New s is a cla

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IANGLES)

eased the number of the origamis to e more visibility for the loops

Design development based on prototype experimentation 1 Based on the prototype we had to focus on the planarity of the triangles ,our goal was to create planar triangles so they could be fabricated as origami nets. Therefore,we began to make the triangles planer as well as decide on the location of the triangles in relation to strips as well as focusing on the joint between the strips and triangles. Indeed we developed the triangles by Creating triangles with a planar surface and thinking in detail about how they would connect to the strips.

surface and new origamis ,planarity achieved but there ash with loops DETAILED DESIGN

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c.2. design development after prototype (TRI

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DETAILED DESIGN

IANGLES AND STRIPS)

TRIANGLES JOINT SYSTEM TO STRIPS The triangles arranged in our original overlaid dynamic form proved to be a challenge to connect to the strips as where they connected in some points required angular cuts that could not be fabricated neatly or left us with areas of the strips that were too thin due to the risk of breakage. For this reason we decided that it would be more efficient for us to change the form in which our triangles were arranged. We adopted a more simplified form that allowed us to modify the pattern on the strips to fit the triangles within them.

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c.2. design development after prototype (JO

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OINTS SYSTEM)

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c.2. design development after prototype (JO

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OINTS SYSTEM)

SUCCESFUL JOINT SYSTEM We designed a new joint system for the developed zigzag strips, then, we started developing small perspex connector pieces that would span in between the strips. Exploded iso illustrates how the initial idea that was made in grasshopper were developed into a balanced system for connecting the strips. We became interested in the idea that the joints could feature a secondary patterning system. We devised an recursive algorithm that progressively added joint pieces, each time moving it and rotating it by a specified amount, resulting in a spiralling or twisting effect. In some parts of the design we’ve contrasted this section with joints pieces all orientated in the same direction. This subtle effect provides detailed variation, with each joints catching light at different angles. The joints are placed at the start, middle and end of the strips, with extra pieces being added to the ones that required more stability to reduce bending. This system provided a strong, sturdy and stable structure that forms the base of our design and with the carefully designed zig zag pattern, it made connecting the triangles much simpler.

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c.3. final detail model

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c.3. final model fabrication

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c.3. final model fabrication

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laser cutter issues: We had a few difficulties in terms of the laser cutter ,as our strips were not cut properly by laser cutter,which we were said that perspex is a hard material to cut and some part can be cut not completely. Also the triangles came out all cut instead of being etch on the tabs due to duplicate lines. So we had to get them done again.

Glue issue: We Tested many glues,as Polypropylene (and perspex to an extent) is a difficult material to be glued as it requires particular type of glue. It was a challenge as fast drying glues either did not stick or left us with no flexibility, meaning we had to join each strip perfectly. Glues that would hold often took longer to dry which meant we spent a lot of time holding pieces in place or waiting. We used a variety of glues as some worked better in joining certain parts, using fast drying glue where we could, and slower drying glues where we required flexibility.

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c.4. Learning objective And Outcomes

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c.4. Learning objective And

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Outcomes

Based on the feed back that we had on the presentation ,i made few changes to the design .the images in this page and the following page are expressing the possibilities of more development that our design could have from my perceptive. For example I liked the triangle idea on the design ,i think if they could be a bit more dynamic or a bit more developed through out the strips could be more interesting. Perhaps being short in time restricted us from thinking broader to find new ways to fabricate dynamic triangulates. The loops were absolutely great, and if it could be expanded through the body ,we could achieve fantastic outcome ,but as I said lack of time wouldn’t let us experiment freely. The developed designs that i have are made through our parametric definition that we made on grasshopper for the proposed Design .

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c.4. Learning objective And O

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Outcomes

Through out the semester ,and as a group we have vastly embraced the use of computational design to explore different possibilities of designs for a given brief. Also We experimented some tactic of digital fabrication via design tool such as grasshopper to fabricate of our parametric design. As individual ,by the end of this subject i was confident in grasshopper to design parametric designs and explore different outcomes and find solutions for our design problems via this generative design tool . I must say ,the challenges that I/we had in designing a garment as well as previous assignments through the subject, thought me how using computational design tools opens a new world of designing in front of me and can expand my creativity significantly.

Through out this journey, I realized that architecture is not only the old method of construction and the world of architecture is moving through new techniques of construction or better say fabrication. As generative and computational design tools are simplifying designing and subsequently construction approaches by offering digital fabrications .

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