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V IS UAL
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ACO US TICS
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T O M M Y H E N G - 516673
Group 22
Preface
V
isual Acoustics is a digital design project that was completed in 2011 for the Virtual Environments course at the University of Melbourne. The aim of the project is to construct a physical paper model of a lantern through digital media that could be worn on the body. Over the course of the semester, sound and vibrations was chosen as the natural process to focus on, where it was then developed both conceptually and visually. Module 1 (Engender) invloved the study and analysis of the chosen natural process along with the production of a small scale plasticine representation. Module 2 (Digitize) proceeded with translating the initial designs into NURBS via RhinocerosŠ. Here, various experiments on panels were made along with important modifications prior to fabrication. Finally in Module 3 (Fabricate), the final digitzed model is sent to the FabLab for fabrication where it was then physically constructed to produce a 1:1 scaled paper model.
- -Visual Silence Visual Silence FEELSEE IT IT
SENSE IT
TASTE IT SMELL IT
(1) 2011 - Visual Acoustics
(2) 2011 - Visual Acoustics
Module 1
Engender
Module 1
Engender
Precedents -
S
ound waves can be heard and felt but they can’t be seen, smelled or tasted. It is all around us, no matter where we go, what we do. Sound. It goes deeper than the mere vibrations of the molecules and the various compressions and rarefactions pressure waves that constitute it. Although intangible, sound is a dynamic and powerful element of nature that has the ability stimulate emotions - anger, hate, love, happiness, sorrow, fear and ambivalence.
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It is the Primordial substance from which our realities are formed, and from which our ‘world’ is originated. As Janecka describes in ‘The Power of Sound’, sound is the element that activates certain domains of the full scenario of a given scene in the recipient’s mind. Thus, it makes the recipient conceptualise the scene in a unique manner to that individual. This correlates to the idiom that “beauty lies in the eyes of the beholder”.
verlap was an installation completed in 2009 which utilized digital fabrication techniques to construct the various blobby forms as seen in the photographs on the right. The project was inspired by the ephemeral and yet dissimilar form of drips and water droplets. As the models are suspended and hung from the ceiling, they are ultimately encapsulated in a defined space. The varying forms in size and shape can be compared to that of sound waves propogating from a point of origin. This inspired me to conceptualise sounds as invisible waves radiating from a single point where the form is influenced by the space it is in as well as the relative time frame it exists in. This allowed me to interpret and visualise sound in a nonliteral manner but instead, as a surreal and abstract form.
However, whether sound may come in the form of words, music or noise, the raw and spontaneous idea in the process of translation is often lost or forgotten. This is due to the fact that sound is a unique element that is not transferrable. In this sense, I find the instant in which sound is propogated to be an important and interesting area to look at as it consists of raw and pure emotive powers of communication. This led to the investigation of concepts to do with indexicality where the basic idea is that behaviors or language points to or indicates some state of affair - deictic inferences. The fact that sounds can serve as an echo of the past from a point of origin; incorporating space and time. For this reason, I have chosen to relate my digital design project and reproduce a model that would idealize the dynamism of sound.
Noise
Sound
OVERLAP OVERLAP (3) 2011 - Visual Acoustics
2009
(4) 2011 - Visual Acoustics
Module 1
Engender
Module 1
Precedents -
Engender
(2)
(1)
(1)
M
Development -
I
arius Watz is an artist who works with visual abstraction through digital generative software process.Using parametric and performance based modelling methods, his practice is concerned with the construction of 2D and 3D structures as a product of parametric behaviors, producing works in a variety of output media such as physicall installations, realtime software and digital drawings made from laser cutters. (1) - Arc Drawings 1 + 2 (2) - Grid Distortion (3) - Object #1-3 (3)
nspired by the work of Wold. D. Prix and the team at Coop Himmelblau, I adopted a spontaneous approach towards design. Although being very labour intensive, the design approach attempts to capture initial design impulses, instances or events. This can be seen as a means of breaking away from mainstream approaches of architectural design and production where the authentic and intiial essence/preconception of the idea is lost through rationalisation. Some of the results of the numerous experiments I produced turned out to be interesting. The spontaneity of the experiment was able to capture some of the raw ideas and concepts of the natural process I was exploring. The paper sculpture could visually resemble the process by which sound waves propogate from a convoluted to a linear and organised sequence of waves. This physical sculpture also incorporates space and time. The other experiments involve sketches where 4 & 5 were attempts to visualise waves travelling in space with 5 & 6 simulating the ripple effects sound waves.
Arc Drawings 1+2 are examples of the use of CNC plotters to produce drawings that have been generated from Jazz sounds. This showcases an abstract way of representing sound. Grid Distortion is the product of parametric modelling and the use of laser cutters on aluminum panels. The results resemble sound waves travelling through space. Object #1-3 was an experiment on rapid prototyping which marks an important step in the design process, which also provides a real world example between digital and conventional design principles.
MARIUS
WATZ (5) 2011 - Visual Acoustics
Spontaneity
Intuitive
Psychogram
IMPULSE (6) 2011 - Visual Acoustics
Module 1
Module 1 Engender
Engender
Development (1)
Development -
T
he medium I had to work with, plasticine, didn’t serve as an effective way for me to visually represent some of the ideas I had in mind. Turning to basic digital software, I used Google SketchUp to try and produce some of the models. It is apparent that the use of digital design enables the designer to translate complex geometries and form into 2 and 3 dimensional model representations. When designing the first model (1, 6 and 7) , I thought of incorporating acoustic variations into the design. The wavy surface is composed of a grid of blocks where the elevation of each one is controlled or defined to frequencies of a sound. This can be compared to an audio equalizer where different ranges in frequency constiuting the bass, treble etc, are manipulated. I liked the concept of this design as it visually represents a feature of sound waves in an abstract manner. The second model (2 and 3) is basically a digital representation of the sketch i produced on page 7. The 3D modelling software here better describes the concept of the design where the ripples now take on a solid form thus occupying space. The different sizes and scales of each ripple correlate to the loudness or dynamics of each sound. Furthermore, via 3D modelling, the points of origin for each sound can now be used to consider how the body can play a role in emphasising the overall concept. 4 and 5 is a variation of the second model where the waves take on a different path.
GradientsRippling
A
s an attempt to consider how the body will accompany the proposed design model, I used another software, Adobce CS5 Photoshop, to produce a series of collages to and communicate what I intend to express with my design. (2)
(3)
(4)
(5)
(6)
Reflecting on my initial aspirations for the design, I concluded that the physical model should have a symbiotic relationship with the human body. As sounds and music occur all around us on a daily basis, the human body effectively responds to it through the senses. However, as sound can only be conceived via touch, I believed that surface texture should be an important aspect of the design. Thus, using various tools and editing features on Photoshop, I was able to manipulate lines and gradients and wrap the human figure with ripples, poly-curved lines along with different textures.
(7) (7) 2011 - Visual Acoustics
Visualization
(8) 2011 - Visual Acoustics
Module 1
Engender
Result -
D
(1)
rawing inspiration from design precedence OVERLAP 2009 installation, I based the final scaled physical plasticine model to the ambiguous and abstract geometries that they used. The blob-like form of the final model, I believe, is very responsive to the spatial environment of sound and vibrations. Just like the evolution in car designs, the “boxy” exterior has eventually evolved into curvilinear geometry which accounts for things such as aerodynamics, thermodynamics and so on. Likewise, the blob can be seen to respond similarly to the sounds in a defined space where each blobby protrusion accounts for a wavelength or points to the direction of a sound/ noise. In this sense, it was interesting to observe how my design concept matured by incorporating real world architectural design principles to do with performace and parametric design. Having gone through a phase of development in establishing the basic concept of my design, I believe I have been exposed to contmporary architectural design where the result has been constructed through a process based approach. Referring to Spuybroek and Lars’ article, Machining Architecture, it can be seen how the designs are being influenced by analogue expreiments. In this case, the structure of the building is biomimetic where it utilises the principles of the natural process of surface tnsion to inform the design. Numerous experiments have been conducted as a means of studying these natural processes. This can be compared to the outcomes Module 1’s, where my design is a result of a series of studies and experiments.
SOFT
OFFICE
Module 2
Digitize
D
igital technologies are changing architecture in ways that few were able to anticipate a dec ade ago. It is only within the last few years that the advances in computer-aided design (CAD) and computer-aided manufacturing (CAM) technologies have started to have an impact on building design and construction practices. They have essentially provided new opportunities by allowing the production and construction of very complex forms that were, until recently, very difficult and expensive to design, produce and assemble using conventional construction technologies. Today, digital architects, designers and thinkers are united in the use of digital technology as an enabling apparatus that directly integrates the conception and production in ways that were unprecdented since the medieval times of master builders. In Module 2, the physical model produced at the end of Module 1 is translated digitally using NURBS. Non-uniform rational basis spline (NURBS) is a mathematical digital modelling system that is often used in computer graphics for generat ing and representing curves and surfaces which are highly detailed and complex. This offers great flexibility and precision in handling polysurfaces. NURBS surfaces are generally functions of two parameters which are mapped onto a surface in a three dimensional space. The shape and form of the surface can be manipulated via control points and are therefore highly intuitive and predictable.
Apart from digitizing the physical model, this module will also look at methods of panelling which will allow the digital model to be fabricated.
(1) - SOFT OFFICE practical experiment
(9) 2011 - Visual Acoustics
(11) 2011 - Visual Acoustics
Module 2
Digitize
differential
A n t o n y G o r m l e y
Precedents -
A
ntony Gormley is an English Sculptor who is most well known for his public installations. Some of his significant works include Another Place 1998, Event Horizon 2007/2010 and Angel of the North. Almost all of his works takes the human body as a subject, with his own body used in many of his own works as the basis for metal casts. Gormley describes his work as “an attempt to materialise the place at the other side of appearance where we all live.� The body is treated as a place rather than an object in which he encloses to identify a condition or rather a metaphysical state of being that is common to all human beings. The essence of time. Thus, the work is not symbolic but instead, indexical - a trace of a real event of a real body in time. It is this concept that I am trying to communicate with my design with the only difference being the use of sound. Moreover, his works respond to the surounding environment whether it may be the topography, spatial scale, density or ephemeral elements of the real world.
Another place...
Another place...
What is also interesting to observe is the apparent use of digital technologies to produce his sculptures. It is evident that complex computational models such as NURBS may have been used in the structural design aspect as well as the panelling system. This demonstrates an example of the professional use of digital technologies in the real world and how they assist in expressing sophisticated concepts.
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chim Menges is an interesting architect to study as he is known for his practice and extensive research on computational design where he develops integral design processes. Much of his work and designs are based on biomimetic engineering, algorithmic and parametric design thus allowing them to be highly articulated and performance based. The images on page 13 are part of one his many design research projects. Some of them are to do with membrane morphology that is devised to accommodate larger and more complex designs. The design is relevant to the panelling that is being explored in this module as it basically utilizes a very simple geometry to produce large unique forms through a process known as differentiated design; that is to make a design more complex through minor deformations of a single element. The FAZ pavillion and Differentiated Wood Lattice Shell are two closely related projects which makes use of the material to generate the form. The FAZ Pavillion is made connifer cones placed in a cell like structure that responds to the weather. It closes when it rains and opens to sunlight naturally. The DWLS timber panels are originally flat and are curved/shaped naturally by reducing the thickness of each panel so that the timber curves naturally. Once again, this demonstrates how digital design has provided architects and designers with new avenues of exploration.
Another place...
Antony Gormley
c
(12) 2011 - Visual Acoustics
digitize
hypercontinuity (13) 2011 - Visual Acoustics
Module 2
Module 2
Digitize
Digitize
Precedents -
Precedents -
W
ith the availability of new digital technologies, architectural form is not purely logical and parameter driven, but it also has the ability to engage and respond dynamically to external forces. In fact, architectural form is highly plastic through its transformative interactions with external, gradient forces. Applying these forces to parametric and performance based models gives rise to form generation - a new approach to design which has begun to replace conventional design theories. In parametric design, it is the parameters of a particular design that are described, not its shape. Thus, by assigning different values to the parameters, an infinit range of objects or configurations can be created.
T
he architectural installation ‘Bubbles’ is one that consists of large pneumatic
(gas) volumes. The volumes inflate or deflate in response to the visitors that are viewing th exhibit. As visitors approach the balloon, it deflates, thus creating a pathway into the installation. Once inside, the viewer is encased within these bubble-like objects. The designers’ intentions were to try and establish a relationship
I find that the study of dynamics and fields of forces to be relevant to my design as sound waves is a dynamic force which responds directly to its environment. Some of the theories that Greg Lynn discusses about architectural space is intriguing. Lynn attributes virtual force not as a passive space of static coordinates, but instead an active sapce of interactions.
between architectural space and volume to the site or space. The installation is
It is because of this that I found metaballs to be an interesting form. Metaballs are isosurfaces in a 3D space which defines a function via x, y and z co-ordinates. Metaballs can be thought as particles with a force/density field. By changing the distance from the particle’s location and threshold values, different attractive forces are created, thus creating these blobs. Sort of like bubbles in a lava lamp or blobs of water or mercury. They are effective in modelling organic shapes and forms.
stallation has a dynamic component in it where the volumes are con-
focused mainly on volume over surface. This architectural design precedent is a fine example of how to application of external forces can influence the shape and form. This really makes you wonder, if future designs were to be all responsive to the environment and human contact, environments would become intelligent. In relating this precedent with my work, I was interested in the way this instantly changing with interaction from people. In the same way, I am trying to generate a form that responds or resonates the concept of sound. Another aspect of “Bubbles’ that is relevant is the use of lighting. From the photographs, i gathered that the edges of the individual panels and surfaces will have a significant effect towards the lighting. Depending on the type of panel and geometry used, different lighting effects will be produced.
Dynamics fields and
of forces
(14) 2011 - Visual Acoustics
BUBBLES BUBBLES BUBBLES -
(15) 2011 - Visual Acoustics
Module 2
Digitize
Module 2 Development -
Contouring -
With such a sophisticated physical model to digitize, I had to make severe modifications to the design. As a result, the basic form of th design took the shape of a dumbell/metaball.
C
ontouring is a system of mapping that is often used in topographic maps where contour lines represent points of equal elevation above a given level. In this case, it was the method I had used to translate my physical model into a digital model in Rhinoceros.
In this process, I was required to make several important decisions and devise a new method of approach to reproduce my model.
Prior to my success, I had encountered numerous problems due to the way NURBS surfaces function; NURBS can only reproduce rectilinear solids and surfaces.
This highlights that knowledge in digital design technologies and their limitations is necessary. It is therefore important for architects and designers to make use of suitable and appropriate methods.
Digitize
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ith new modifications made to my digital model, I evntually devised a way of reproducing the from of my original physical model. By stacking 3 or more individual dumbell shaped surfaces on top of one another and then rotating them, I was able to construct something which looked relatively similar to the blobby plasticine model. Throughout the process, I experimented with numerous types of 2 and 3D paneling, most of which were not suitable for fabrication as they were either too complex or not structurally stable. Most of the interesting panels were 3D panels as that extra dimension gave the form a dynamic character. Apart from the search for a suitable panel type that would express and communicate the dynamism of sound, I was able to relate paneling to real world practical uses. It can serve as two purposes; being both an aesthetic feature and and structural system of a building or object. With the aid of digital technologies, designers are able to devise ways of dividing a structure into panels in th most economical and efficient manner.
I adopted a technique known as morphing which is temporal modelling technique where dissimilar forms are blended or stacked together to produce a range of hybrid objects.
Koltan and MacDonald’s are two architects who worked ont he chimerical housing project which utilizes this method of form finding. In a similar sense, i have been trying to produce new models my stacking differentiated models. It is a rather spontaneous process where the outcome is unpredictable. (16) 2011 - Visual Acoustics
(17) 2011 - Visual Acoustics
Module 2
Digitize
Module 3
Fabricate
Development -
A
M
any of the lighting experiments that were conducted were inspired by Japanese origami. It is a traditional art of paper folding that has become increasingly popular in mathematics and practical applications; so much so that, NASA has even adopted origami techniques in designing state of the art folding mechanical arms. I was particularly interested in origami tesselations due to the intricate designs and surface textures that some of them produced. In origami tesselation, pleats are used to connect molecules such as twist folds together in a repeating fashion. This results in surfaces which look like panels in many ways. The most basic tesselation patterns used in origami are diamond and triangular grids. Through the numerous experiments, it came to me that origami was indeed a very difficult and complex system of folding. Nevertheless, the few that were suessful produced very interesting results in the lighting experiments. These small tests would later inform many of the final paneling decisions I had made in designing my final model for fabrication.
Lighting
rchitecture consistenly informs and is informed by new modes of representation and construction as digital and emerging technologies are rapidly expanding what we conceive to be formally, spatially and materially possible. The use of digital fabrication today has spurred a design revolution where it has given rise to a wealth of architectural invention and innovation. It is currently inconceivable to imagine designing buildings without the aid of computers. This is because digital design has been embedded into every step of the architectural process - from conception to construction. Some of the digital practices that are being employed by architects and designers include 3D modelling, generative form finding, scripted modulation systems, performance based modelling and so on. Module 3 explores the process of digital fabrication where it is often considered to be one of the final stages of design. In this module, the panels that were developed via digitizing is sent to the University’s digital fabrication lab (FabLab) to be laser and card cut. Three physical models were manually constructed and used as prototypes to be tested. The final model was then fitted with LED light components to serve as a lantern.
FABRICATE
test (17) 2011 - Visual Acoustics
fabricate
(18) 2011 - Visual Acoustics
(1)
(1)
Module 3 Module 3
A
egis Hyposurface by Mark Goulthorpe is yet another example which illustrates how form may emerge between the interplay between digital design and materials. It is a faceted metallic suface which is flexible, resulting from a rubber membrane covered with tens of thousands of triangluar metal shingles. The surface changes over time in response to the movement of modification of sound and light levels in its environment. This has informed aspects of my digital model and paneling used. The point attractors that were used represents spatial external forces which affects the panel sizes.
of the use if digital fabrication. It is a highly purpose-specific performance space that was designed so that the building would be perfectly tuned acoustically. Every detail and feature of the recital hall has been mathematicall conceived and tested using perfor-
The other architectural precedent which displays the outcomes of digital fabrication is Airspace Tokyo by Thom Faluders. The project creates an exterior building skin for a multi-story dwelling. It is assumed that the panels had to be laser cut to produce the complex organic shapes and then later constructed on-site in pieces. What is also interesting about this design is that it serves a structural purpose besides providing th building with a great aesthetical appearance. Airspace is a zone where artifical blends with nature as sunlight is refracted along the metallic surfaces and raninwater is channeled away fromt the walkways through capillary action.
mance based models. Raf Orlowski used custom systems to detail a 3D virtual model with scripts that calculated the space and reverberation times to optimize and progressively tune the space. Once the digital models were tested, physical models were also constructed to scale for a series of tests. These determined the most suitable material to be used for the thus
demonstrating
how
the
interplay
Fabricate
A
Fabricate
shton Raggatt McDougall’s recital centre is a good example
panels,
between
(2)
form and geometry can be used to optimized a design.
Melbourne
Recital
Centre
(1)
Aegis Aegis (19) 2011 - Visual Acoustics
Hyposurface
&
Airspace
Tokyo
(1) - Aegis Hyposurface by Mark Goulthorpe (2) - Airspace Tokyo by Thom Faulders
(20) 2011 - Visual Acoustics
Module 3
Fabricate
Prototype development & experimentation
A
Module 3
O
fter reviewing the work I had done from the previous module, I had to make an important decision to simplify my model due to the constructability and time constraints. The final form is a tweaked version of the metaball geometry where I manipulated the control points. The first few paneling tests proved unsuccessful as there were issues with unrolling the surfaces. It was realised that there were issues with the custom paneling system I had used and so new geometries for panels had to be reconstructed. The problem was eventually resolved by distorting the paneling grid and configuring the shape of the panels. With the panels now sharing at least 2 points and 2 edges, the paneling faces could also be unrolled several at a time, thus saving a lot of time. With over 200 panels on the final model, I made use of GrassHopper (Rhino PlugIn) to automate the tab making process. The experience with the software was a good exposure to some of the more advanced tools in digital design which incorporates elements of form finding. Once the final model had been panelled and unrolled, all of the surfaces had to be prepared for digital fabrication. The surfaces had to be converted into simple linework where colours and layers were designated to different edges for cutting and scoring. Finally, the linework is transferred into a frame that is scaled 1:1 with the size of the ivory card sheet.
Fabricate
ne of the techniques that architects use in translating their digital designs into physical objects and structures is sectioning. As architects and designers increasingly design with complex geometries, sectioning as a method of taking numerous cross sections through a form has proven to be effective. This method is utilized in Serpentine Gallery Pavilion by Alvaro Siza and Eduardo Souto do Moura. Each of the 427 timber pieces with rib geometries were sent digitally to fabricators which were cut with five-axis CNC mills. With so many indiiviidual pieces, the architects had to also use a system of organizing each member for construction. This serves as a great precedence with the similar method of construction I used for my digital model. BURST is a prefabricated system of housing that functions like a kit of parts It provides a means to achieve individually tailored spaces and masses to allow the house to take on a form that is specific to its function and environment. The geometries of the house and individual pieces are sent to be precisely cut and numbered before being delivered to the site. With the aid of digital fabrication, the method reuces the assembly to a more accessible process, much like a jigsaw puzzle. This means that the construction time is also significantly reduced, thus requiring less labour.
house
Serpentine Gallery Pavilion
(21) 2011 - Visual Acoustics
(22) 2011 - Visual Acoustics
Module 3
Fabricate
T
he first constructred model was generally a means of walking through the entire construction process. Many problems were met with the first prototype where issues ranged from missing pieces to confusion in the labelling system. A simple check of the digital fabrication file before sending it to the FabLab would have been suffice in making sure that there weren’t any errors; this was a mistake I had learned. Other than that experiment served me well as it informed several modifcations I made to the next model. The physical outcome of the panelled surface was able to communicate the concept of sound dramati cally with the fins expressing dynamics. In order to resolve the labelling issues I had encountered, I devised a col our coding system in the digital model so that I could keep track of the different groups of panels I had unrolled. In addition, I also included a numerical labelling system to organise corresponding panels into their repsective strips. The unrolled surfaces were then laid out in rows onto the grid. This procedure can be referred to in the prec edents of the BURST house and Serpentine Serpentine Pavilion which were mentioned earlier on.
Fabrication
Construction
(23) 2011 - Visual Acoustics
Module 3
Fabricate
D
espite the completion of the model and resolving the various issues to do with the labelling system of the first prototype, there were problems in regards to the tidiness of the construction of the final model. Due to the use of 3D panels, the tabs to attach each strip together was overlooked. Using masking tape didn’t give a clean finish where lighting tests made the strips of tape visible. In an attempt to refine the model, a third and final model was produced. This time, half of the amount of panels were used to construct the model. The reduction however meant that the model didn’t look as sophisticated as it did before. Nevertheless, the larger fins gives it a more dynamic appeal. Furthermore, it look far less time to construct than it did for the first two models. With fewer panels to manage, I was able to have more control over the connections which led to a cleaner finish.
Final Final Model
&
Modifications
(24) 2011 - Visual Acoustics
Reflection T
he Virutal Environments subject within the Bachelor of Environments at the University of Melbourne was definitely a new experience for me where I have was exposed to new digital technologies to do with design. The course offered knowledged not only within the arena of academics and education, but also to the ways in which architectural and design practices are being used in the real world. Modules 1, 2 and 3 essentially divided the entire design project into 3 major parts, Engender, Digitize and Fabricate, all of which marks key stages in digital and architectural design processes. Through each module of work, I learned how design, from its conception to the final physical product, requires formal analysis, critical thinking skills and self ingenuity to tackle numerous problems along the way. The lectures and reading materials served as an introduction to the new age of digital media and showcased precedent which I found very useful in learning about different concepts and theories that constitutes digital design and fabrication.
One of the most interesting skills which I believe I was able to grasp onto is the concept of critical thinking and formal analysis. Critical thinking is important in any field of work and has great relevance when it comes to design. It requires an inquisitve mind where qestioning becomes commonplace in any aspect of design leading to critical analysis. This allows you to draw clear, concise and relevant conclusions to the problem at hand.
Reflection
Reflecting upon the various decisions I had made in the fabrication process, I’d question whether it would be better to manually cut the panels or have it sent to the FabLab. Some of the things I had considered include whether or not the choice I made would save me time, costs and be more efficient.
In this sense, it is possible to see how relevant Damian Newman’s model of reasoning is to design. Having gone through this, the designer has essentially gone through a process of critically analysing their own work through evaluation and reflecting on the projects that they have completed. All of this has to be done in a series of steps where the ideas or possible design solutions have been communicated well to allow you to make informed decisions. The objectives and goals have to be set out very clearly at the beginning of the project and every decision you make should head towards achieving that goal.
(25) 2011 - Visual Acoustics
Module 1 Engender was a challenge as it required some of the critical thinking and decision making skills in choosing which natural process to focus on. With so many ideas and concepts arising through the development phase, it was oftern difficult to keep track on the objectives of the project. I was able to finally decide which natural process I wanted to pursue through a process of elimination where the various concepts were analysed for feasibility. The idea of sound seemed to be simple and yet complex enough to produce a variety of designs where the representation wouldn’t be too literal.
Comparing this to my design, I found that I was not able to physically reproduce the designs I wished to produce and had to result to simple geometries. Furthermore, the sketches and clay models didn’t seem to turn out the way I expected. However, with the use of Google SketchUp as a simple design sofware, my results were greatly improved. I believe this demonstrates the significance and increasing relevance digital design in architecture.
Reflecting on some of the questions posed in week 3, it can be said that “true” representations are extremely difficult and if not impossible. This is because designers have a tendency to constantly alter, change and rationalise every design decision that is made. What is sketched may not necessarily reflect what is visualised in our minds and so the design is often simplified and reviewed till the end result has no resemblence of the original design. Indeed, all representations are constructed with such elements as collage, frame, light and patterns. This is apparents in Pablo Picasso’s formal analysis of the bull where the complex organic form of the animal is reduced to curves and straight lines.
(26) 2011 - Visual Acoustics
Reflection Module 2 introduced us to digital designing software Rhinoceros where I had the opportunity to translate my physical model into a digital format. The process proved to be complex and confusing at first, however, with time and practice I began to appreciate use of digital design. With these new tools, I was able to produce many of the designs I had in mind and also generate new forms through experimentation. Despite the wonders of using these digital techologies, producing interesting and complex models requires a good knowledge in using the design softwares. Many of the problems I encountered were due to the use of incorrect methods and the lack of understanding the limitations of NURBS surfaces. Nevertheless, I found that I was able to overcome these problems by thinking outside of the box and devise a means of digitizing my model.
I learnt that digital design has had a significant impact on architecture. With the arrival of new and emerging digital technologies, architects and designers have revised the design process. Where previously, idea generation was accustomed as being a step before performance generation, digital modelling has provided new means of reorganizing this design process heirarchy.
With the availabilty of digital technologies, architects now have an opportunity to place themselves in a central, key role in the construction of buildings and perhaps even regain the absolute powers of the medieval master builders. This is all made possible with the means of better communication and information management. Nevertheless, this may be a complex issue in today’s society as there are numerous social, legal and technical barriers to the complete restructuring of longago established relationships among the various building professions and trades.
In practice today, architects use form-finding as an approach to develop their designs. This has been made possible through complex systems such as parametric and performance based modelling. By doing so, contemporary architectural designs have become more efficient and intelligent as they respond to external forces within the environment. Much of the emphasis of form is placed on performance rather than aesthetics. This can be seen in the ways household products, cars, furniture and building designs hace changed over time from boxy forms to sleek curved sufaces. It is no wonder unlearned people in architectural design tend to receive contemporary architectural design in a repulsive manner.
In relation to the use of digital fabrication methods in constructing buildings, there have also been many advantages compared to conventional techniques in manufacturing. For instance, the use of Computer Aided Manufacturing (CAM) techniques has made it accessible for designers to produce custom and complex materials and products that wouldn’t be feasible to do using conventional methods. The Genetic Stair designed by Caliper Studio is one such example in which CAM has aided the design representation. The final design of the stairs is a calculated model of the specifics and requirements the design has to fulfill. In this sense, CAM techniques can aid designers in generating form - form finding. In addition there are such Building Information Models which can intergrate and describe a building’s entire infrastructure and systems. (27) 2011 - Visual Acoustics
Reflection Module 3 I felt was the most challenging module of the entire design project simply because of the amount of time that was required to fabricate the physical model. I believe that it tested my organizational and time management skills as there were often several tasks I had to work on at once. Having gone through the process, I can say that it would have been very difficult to complete the task in the 3 weeks without the aid of digital technology. One of the other important concepts I learned is to be realistic in the designs I produced. Many of the digital models I experimented and produced were not appropriate for fabrication due to structural issues.
This means that architects and designers cannot rely purely on technology; design still requires human input and evaluation. Apart from the practical side of things, the project also tested my mental capacity at times to cope with multiple tasks at once. At times, when tasks weren’t complete on schedule, frustration can throw you off course. I believe that keeping a cool head at all times is an important factor to success. As the saying goes - “pain is weakness leaving the body”.
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Reflection T
Reflection I
here are various factors regarding fabrication that can influence architectural form. One of the main factors I believe is the cost of fabrication. Designs which require digital fabrication are unique and so the costs are generally more expensive and so forms tend to be smaller. The other factor would probably be the availability of equipment/ technology to fabricate more complex forms. 2,3 and 4 axis CNC mills and 3D printers are common nowadays, however, sophisticated models which require 5 axis fabricators may be limited. For example, bending a steel tube in 2 dimensions is fairly simple, however, bending it in 3 dimensions has way too many variables to account for.
n an age of digital design, designers can begin to produce countless variations in geometries that is only limited/matched by the computational capabilites we have today. With near infinite possibilities in creating new designs, architects and designers are turning towards discovering and exploring new materials. The current challenge that can be seen in the relationship between architectural representation and digital fabrication is to choose appropriate materials that is suitable for the specific form and geometry and then communicating this to be fabricated. This proves to be a challenge because there are a wide range of materials that have yet to be accounted for in digital software and it is difficult to address the ways in which different materials behave. For example, the use of light sensitive fibre glass simply has too many factors to account for which will require a complex digital model to simulate. As this becomes a problem, it is possible to see how it may be difficult to fabricate, thus physical modelling tests are still utilized. Another concept that designers are finding difficult to fabricate are the ‘experiential effects’ of material properties. In other words, material effects are not only visual, forms are becoming multi-sensory which focuses on the experience. What is conceived through architectural representation may have a different result once fabricated.
T
he way in which form emerges in contemporary designs and architecture is through the interplay between geometry and material. Most architectural designs are heavily focused on performance optimization; using performance models to test for structural integrity, wind flow, energy usage etc. As designers are continuously trying to come up with new ways of improving the performance, materials become an important consideration. Currently, new materials are being developed and tested for specific purposes and designs. One example of this is the light-transmitting concrete panel developed by Li TraCon which was used to increase the translucency of walls for aesthetics and natural light. With this material having a specific look, texture and pattern, it can be seen how it has a great influence on the form. (29) 2011 - Visual Acoustics
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I
t is for certain that humans, whether as architects, interior designers, mathematicions, economists or students, will continue to utilize digital technoigies in our daily lives. In a time like today, technology has become mandatory in our ever busy lives. Nevertheless, the repercussions due to the increasing use of technology to many, have become a big concern where people worry that mankind will turn into helpless and pathetic digital slaves; a future cliched by Hollywood and the media. This brings up the questions between Nature vs. Nurture; an ethical dilemma that began in the 1800s. Some of the classic texts which discusses these concerns include Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner where the protagonist or hero falls into a tragedy of morals and ethics. Technology grants them omnipotence which results in their eventual degradation. Comparing this analogy to design, it is evident that many contemporary architectural designs lack the fundamental human vallue of emotion and expression. We may be relying too much on technology to design for us. I believe that architecture should be physical manifestation of one’s character and personality. A building should be a piece of one’s heart and mind.
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