Digital Design Module Two: Journal by student088

Digital Design - Module 02 Semester 1, 2019 Liam Blanc

996663 Joel Collins + Studio 15

SURFACE AND WAFFLE STRUCTURE Surface Creation

Critical Reading: Kolerevic B. 2003. Architecture in the Digital Age

Kolerevic described three fundamental types of fabrication techniques in the reading. Outline the three techniques and discuss the potential of Computer Numeric Controlled fabrication with parametric modelling. (150 words max)

The three techniques for fabrication are generative, formative and subtractive, and they are all utilised in different ways to create a variety of results. CNC fabrication allows a user to create objects quickly and cheaply, straight from their compter, allowing early models to be easily examined in person, assesing any viability issues. It also allows for the creation of completely new shapes and sructures, that would have been impossible using normal construction methods of the past. Generative fabrication allows for materials to be built up, such as pouring concrete, or more intricately, robots that can pour melted plastic into solid form, cooling it as it forms its shape. Formative fabication allows the molding of objects into new shapes, such as sheet metal and cast iron. Subtractive Fabrication is the removal of material to create form, such as CNC milling that wears down wood into form, or laser cutting to create shapes out of flat materials.

This code is used to generate the surfaces, the waffles structure, and the variation in panelling, then to unroll created surfaces into their flat developeable parts. The focus of this code is the jittering of patterns, creating a way to splice multiple parts together using cull patterns, culminating in a surface that is fluid in its blending of parts. This was originally done by changing each individual module on a surface by hand, after extracting their coordinates from the overall grid, however this became overly complex and non-parametric. Instead the code on the right shows morph3Dâ&#x20AC;&#x2122;s being fed into cull patterns, which allow the user to substitute different modules throughout the surface in random patterns, creating an infinite variability in the generated pattern.

SURFACE AND WAFFLE STRUCTURE Surface Creation

The process of creating this visual scripting was of trial and error, exploring the possibilities and capabilities of random pattern generation within rhino, I wanted to use the randomness to create a pattern that enabled a flow of parts into the creation of a whole. This process was dificult as i felt i didn’t have the knowledge to get from the beginning, to the end goal i had in mind. I began the process by exploring how to select individual modules, and change the brep that would be used, however this removed much of the element of parametrics. I succeded through creating a sequence of list items, segmenting all of the grids into individual squares, and then placing a shape in the produced grid. I was then able to feed the result into a “bake object,” and create a second set of morph 3D’s in order to create a choice between two objects. I formed a grid that i could feed either a true or a false value into the individual modules, and using a notgate i could tell the individual to either be a 3D, or a 2D shape (See Apendix a). I realised that this was needlessly complex for the task I wanted to produce, and set about finding an easier, and more paremetric way of creation. This lead to me realising I could feed the result of the morph 3D into a cull pattern, and use several morph 3D’s with differing modules, in order to create an intricate and randomised pattern. I enjoyed the random elements of the process, however I felt with the varying types of shapes, both 2D and 3D, created a surface that felt too disconnected, with jarring differences in form. This lead to the discovery of using the same random pattern, with only slightly different shapes, in order to create a flowing element to the surface.

SURFACE AND WAFFLE STRUCTURE

Isometric View

Laser Cutting

996663 Liam Blanc The 3D panels shown have only slight variations in openings and direction, but showcase an overall smooth movement in space. If taken thematically they show a wandering element of direction. The 2D elements of this form showcase a similar flow, with much more highlighting elements linked to shadow and porosity.

Sheet 01 of 01

The waffle structure shown displays a very tight internal structure, that is composed of quite straight sections. This creates a space that is very dynamic in its possibilities, and provides a smooth curve across the entirety of the shape.

The process for creating a surface that was able to be laser cut was quite chalenging. Due to the doubly curved nature of my surfaces, most of my 2D surfaces have unrolled with overlapping parts. This has meant exploding certain surfaces, moving out the overlapping areas, then tabbing them, so that they can be reconnected once they are printed. Then the edges were separated into cut and etched lines, with the cutâ&#x20AC;&#x2122;s appearing in black and the etches appearing in red. Some outside edges are left as etches to keep them on the sheet of material once printed. Another issue was the 3D shapes having very close surfaces needing to be attatched to each other. I solved this through the creation of double sided tabs, lasered by themselves.

SURFACE AND WAFFLE STRUCTURE Matrix and Possibilities

Lofts

1.1

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1.4

Key {0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points

{Index Selection}

2.1

2.2

2.3

2.4

{Attractor Point Location}

{Index Selection}

3.1

3.2

3.3

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{42.3,157.99,89.53}

Paneling Grid & Attractor Point

Paneling Grid attrators

{Attractor Point Location}

Base Grid & Attractor

Paneling Grid Base

{Index Selection}

1.2

1.3

1.4

{Index Selection}

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2.2

2.3

2.4

{Attractor Point Location}

{Index Selection}

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{42.3,157.99,89.53}

Paneling

3.1

1.1

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3.3

3.4

In this variable matrix, the variability of both the base and offset grid are changed, to create different extremes of interactions between modules. This factor created different scales of modules within the surface. This effected the base size of each modules, and the height of modules. Several factors came into play; the magnitude of attraction, the type of attractor, and the effects on the base and offset grid. The matrix on the previous page shows similar factors playing out on different surfaces and with several different types of attractors. I enjoyed how these shapes changed how shadows played across the form, and how the modules interacted with each other in interesting ways.

SURFACE AND WAFFLE STRUCTURE Photography of Model

The complexity of the model allows for the creation of intricate and deep shadows, playing accross the surface and onto flat plane behind it. The creation of space beneath the model is one of the most important spaces in my idea. It allows for the user to interact with what could be considered interior space, whilst being wholely outside of the object itself, inverting the ideas of inside and outside. At the scale of the pavillion it creates a space that interacts intimately with its surroundings, with shados softly playing around the residual space. The top of the form allows for a variety of central pathways for a watershed to cascade across the pavilion. This creates interesting shadows and shadow gaps across the plane, allowing for an immersive experience within. The user of the space is greeted with changing spatial qualities at differing times of day and season. The length of the shadows greatly changes the thresholds of the space, as the perceived â&#x20AC;&#x153;beneathâ&#x20AC;? of the form moves with it.

Due to the curve of the surface some of the 3D shapes appear upside down in this view. However the intricate play between the modules can still be seen, with the flow playing a mojor role.It also blends the modules together, giving the illusion of a single, solid form.

The 2D shapes in this model allow for intricate filtering of light through the model, and due to the nature of the surface result in reaThe waffle structure is made of tight, close

sonably straight strips of modules.

nit rectangular forms, which created a very strong final form, that supports the doubly curved nature of the surfaces, and rest on the ground in several spots.

SOLID AND VOID

Visual Scripting of Parametric Model

Surface Creation

The visual script for the boolean creations was quite direct. A bounding box was created, then a series of grids were created within that box.Point attracters were then used to shuffle these grids, changing the locations of points to create interesting interactions. The points were then used to create volumes in order to generate a centroid. Using another attraction paramater the volumes were scaled depending on the type of attractor used. This data set was then used to generate volumes of different shapes, going through various Lunchbox maths surfaces and other types of meshâ&#x20AC;&#x2122;s. This created a large variety of shapes, positioned within the original cuboid volume. Rhino was then used to boolean these shapes from the main volume, and create the resulting voids.

Progressively altered using atttractor points, attractor lines and finally an attractor curve. These attractors are used to orientate both the location of the internal geometry, and the scaling factor of the geometry, with objects further away being smaller in size. the attractor curve was very succesful in creating overlapping geometry, showcasing a variety of differing spatial qualities when cosidered at scale. This attractor meant that the objects were much closer together, due to the nature of the curve running through the entire volume.

SOLID AND VOID

Isometric view

This combination of solid and void space shows a variety of differing interations within space. Using several different objects, I spliced together a space that contrasts a difference between soft circular form and a direct straight lines. This provided an object with a variety of different spacial feelings, and lighting elements. The elements that were most interesting were the points of intersections, where the soft meets the harsh, and where the progression changes in an instant. I therefore chose to focus my volumetric cutouts on these areas, where different shapes meet in a single spot. The shapes in this overall volumes area are a torus, truncated platonic cube, and truncated platonic tetrahedron. The cutouts on the left show a pattern of harsh lines creating openings in the solid form, which in turn creates oportunistic lighting within. The tubular torus shape shows a playful internal space, that often cuts through both the dense solid, and the open void.

SOLID AND VOID Matrix and Possibilities

Point Attraction Internal Shapes resulting from Attractors

These boolean volumes are some examples of iterations of shapes and form in Task B. Using different attractors and scaling factors I was able to create a varied result of density and porosity. Some of the elements that i enjoyed and attempted to expand on was the feeling of internality, and how the individual feels within space.

Solid and Void Boolean

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Task B Matrix

{Index Selection}

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{Attractor Point Location}

{Index Selection}

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3.1

This shows some of the variations i made with the volume in task B. Playing with the importance of the central grid using attraction, I was able to edit the way objects would scale, and how intertwined they were, which allowed for the creation of very intricate shapes. I wanted to explore the internality of space so I chose the first edition, due to its density in objects.

SOLID AND VOID

Photography of Model

These objects when considered in the physical world showed more intricate areas than previously shown. Seeing them in a physical environment allowed me to see the lighting qualities that i couldnâ&#x20AC;&#x2122;t see on the computer. Then intensity of shadows created using these truncated shapes, provided a true variety in shadows and spatial qualities. The intricacies of light has really been shown in these images, with both soft delicate curves, and hard lines showing across the surface. The difference creates patches that allow form hidden emotional spaces, creating changes in spatial atmosphere. Scale has paid an important role in my engagement with these solids and voids, allowing me to show how people could engage with the spaces. I took the pavilion scale as the best to show off the possibilities of these spaces, highlighing how they can almost encapsulate an individual. I really wanted to explore the possibilities of cavernous space, creating an interesting way to surround people, opportunities to crawl into spaces, navigate through alternative routes.

Appendix

This code creates the modular cull pattern allow for the substitution of different modules.

This is a single module

This is a single branch

separator,

which

al-

which

al-

lowed me to select

individual squares of

individual rows of mod-

modules, and change

ules, and change them

them to a true flase

based on their position.

pattern that can be

This code shows the explora-

hand changed.

tion of more types of attraction parameters. and how those were fed into the single module editor.

This was the original code for the creation of surfaces and the populating of those surfaces with singular modules.