Algorithmic sketchbook-Tania Putri Kanadi_683664

AIR

Algorithmic Sketchbook

2015, SEMESTER 2, Caitlyn Parry Tania Putri Kanadi

Page 1

Contents

Page 2

Content

2

Week 1

4

Week 2

16

Week 3

24

Week 4

Non-Teaching Period

48

Week 5

56

34

Page 3

Page 4

Week 1

Page 5

Exploration of Curves

Using only 2 curves did not enable a very flexible design. In some of the renders, the lines were showing. However it also means that it is a hyperbolic structure. Because of that it will be easy to fabricate.

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3 curves made smoother structures. The downside is that it cannot be fabricated using straight lines anymore. The last two show a better iteration, since they are not very rectangular and it shows the use of varying the length of the curves.

Page 7

Using 5 curves, the form becomes easier to manipulate. In the image above I was trying to form a car. The image on the left showed that a closed loft of a complicated form would sometimes cause the surface to intersect.

Here, I was experimenting with folds and generating a fabric-like surface.

Page 8

This was an experiment to form a wave. I think this form and the fabric were the most successful as they as very dynamic and similar to the real thing.

Page 9

Triangulation

Porosity

2/5

Aesthetic 2/5 Complexity

1/5

Porosity

3/5

Aesthetic 3/5 Complexity

2/5

The octree function was fun to play with because it creates this minecraft-like landscape for you. But I this the component did not produce unique results.

Page 10

Porosity

2/5

Aesthetic 3/5 Complexity

1/5

Like the octree, I feel like the voronoi as well do not have potential to create something unique. I still like the form, its very architectural and many have used this in existing buildings. But that’s all the more reason for me not to use it too explicitly.

Voronoi 3D

Octree

Page 11

Porosity

5/5

Aesthetic 3/5 Complexity

3/5

The voronoi is very useful in creating landscapes. In this example I used a radial grid to create the points for the voronoi to act from. The result was similar to that of a stained glass window arrangement.

Page 12

Porosity

5/5

Aesthetic 4/5 Complexity

4/5

I continued with the circular arrangement and tried to make tiers to create intersecting shadows.

Page 13

Porosity

0/5

Aesthetic 1/5 Complexity

2/5

I tried something simple first which is creating a landscape with delaunay edges. The surface was created with delaunay mesh.

Porosity

5/5

Aesthetic 1/5 Complexity

Page 14

2/5

Porosity

5/5

Aesthetic 3/5 Complexity

3/5

I am trying to do the same here with the tiered circles but with delaunay edges. The result I was hoping was that the delaunay will warp around and create a tilted cliif like form, but the delaunay lines jumps up and down.

But the result is still stunning in my view.

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Page 16

Week 2

Page 17

Boxmorph

Porosity

4/5

Aesthetic 1/5 Complexity

1/5

Porosity

4/5

Aesthetic 2/5 Complexity

Page 18

1/5

Porosity

4/5

Aesthetic 2/5 Complexity

1/5 The boxmorph function was pretty handy because it fills up the whole surface. The overall form however was boring. The grids are very easy to see and after a while its just a matter of how you design the geometry that will fit inside.

Page 19

Mesh

Porosity

1/5

Aesthetic 2/5 Complexity

2/5

The mesh was a bit complicated. The smoothing function would not work. This version is the welded vertices. It resembles a sofa.

Page 20

Porosity

1/5

Aesthetic 2/5 Complexity

4/5

Here, the final result was a mess of spikes. The smoothing function did not work as planned, which is to smoothen the whole octree Brep as a whole and create an oval with dents.

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Page 22

Porosity

1/5

Aesthetic 2/5 Complexity

4/5

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Page 24

Week 3

Page 25

Culling

Spaces

4/5

Aesthetic 2/5 Complexity

Page 26

2/5

Spaces

2/5

Aesthetic 2/5 Complexity

2/5

The shelf is made from a radial grid and then culled. The triangles in the center was too concentrated. I wanted to cull more of those inside using distance but it did not work.

Page 27

Spaces

3/5

Aesthetic 4/5 Complexity

2/5

This produces a well arranged shelf. I used image sampler to assist in culling process.

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Page 29

Image Sampler

Porosity

0/5

Aesthetic 2/5 Complexity

1/5

The image sampler was a great way to visualise things.

I’m using spheres because I wanted it to be 3D. The image symbolises community, which is what I think Ceres represents best.

Page 30

Porosity

3/5

Aesthetic 4/5 Complexity

2/5

The image sampler was a great way to visualise things.

I’m using spheres because I wanted it to be 3D. The image symbolises community, which is what I think Ceres represents best.

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Page 32

Porosity

5/5

Aesthetic 3/5 Complexity

2/5

The image sampler was a great way to visualise things.

I’m using spheres because I wanted it to be 3D. The image symbolises community, which is what I think Ceres represents best.

Page 33

Page 34

Week 4

Page 35

Field Charge

Aesthetic 5/5 Complexity

3/5

The image sampler was a great way to visualise things.

I’m using spheres because I wanted it to be 3D. The image symbolises community, which is what I think Ceres represents best.

Page 36

Aesthetic 4/5 Complexity

2/5

Page 37

Page 38

Aesthetic 4/5 Complexity

3/5

Page 39

Fractals

Porosity

2/5

Aesthetic 2/5 Complexity

2/5

The fractals produced very beautiful results but they are very repetitive.

In my rhino as well, after the geometries are trimmed the holes were not capped properly nor can i cap it using grasshopper. Because of that the results were a bit restricted.

Page 40

Porosity

2/5

Aesthetic 4/5 Complexity

2/5

I like how the bottom of this fractal turns out. It resembles a snowflake.

Page 41

Porosity

0/5

Aesthetic 1/5 Complexity

1/5

Here I was trying to create fractals with 2 geometries joined together. It turns out interesting.

Page 42

Porosity

5/5

Aesthetic 1/5 Complexity

1/5

Page 43

Panelling

Color distribution

3/5

Aesthetic 3/5 Complexity

2/5

The panelling is great for fabrication to see whether or not everything is planar.

In this section though I am experimenting with the degree of curviness to create interesting combinations of color.

Page 44

Color distribution

1/5

Aesthetic 3/5 Complexity

2/5

It was interesting to see the color combination when the surface just almost intersect itself. The colours are more erratic.

Page 45

Color distribution

1/5

Aesthetic 3/5 Complexity

Page 46

3/5

Page 47

Page 48

Non-Teaching Period

Page 49

Field Lines Exploration

Page 50

Porosity

5/5

Aesthetic 5/5 Complexity

4/5

I find field lines very amusing. It creates very delicate designs and are very complex although the process was quite simple.

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Page 52

Porosity

4/5

Aesthetic 3/5 Complexity

5/5

The extruded version of the curves created a spider-web like labyrinth.

Page 53

Page 54

Porosity

1/5

Aesthetic 2/5 Complexity

3/5

It was hard to loft the curves because not all field lines would work.

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Week 5

Page 57

Tree Statistics

Grafting the datas made each points have their own branches. The points are listed very long.

Simplifying the surface takes away the similar traits of all the data. So the {0;0} in the data is erased.

Flattening it make them all become points under the same branch, which is why the points are all listed as 0.

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Page 59

Tree Menu

Porosity

5/5

Aesthetic 1/5 Complexity

1/5

The tree menu made it possible to create planar patterns that can represent a curvilinear surface.

Page 60

Porosity

1/5

Aesthetic 5/5 Complexity

2/5

I was trying to use a different surface. The cone turns out like a christmas tree. The scales that it produced looks like the leaves.

Page 61

Porosity

1/5

Aesthetic 5/5 Complexity

Page 62

4/5

Path Mapper The difference between culling the points were almost neglibible.

Page 63

Changing the combinations of the path mapper results in the most changes.

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