STUDIO AIR Yanxing Zhang 778635 Semester 1, 2018 Tutor: David Wegman
CONTENT B.0 CHAKRA restriction and strength
sacral collage
B.1 SCRIPTING THE PROCESS bone growth study
STAGE 1 DIAGRAMI PROCESS STAGE 2&3 TRANSLATION + PSEUDO CODE STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL STAGE 5 ANALYSIS
B.2 CASE STUDY 1.0 BRANCHING FIELD
2D ITERATION 3D ITERATION LINK TO BONE GROWTH SYSTEM
STEP1 CASE STUDY 2.0 STEP2 TRANSLATION RESULTS
B.3 REVVERSE ENGINEERING
B.4 EXPANDING THE
CONTINUE FROM B1 DIAGRAM IN MORE DEPTH TRANSLATION EXPERIMENT ANALYSIS PROPOSAL DEVELOPMENT FROM PREV TRANSLATION MORE ITERATIONS
B.5 TECHNIQUE: PRO TEST01
TEST02
B.6 TECHNIQUE: PRO SITE PLAN
PLAN, SECTION & ELEVATIO HERO IMAGE INTERNAL SPACE IN CONTEXT
B.7. LEARNING OBJE
B.8. APPENDIX - ALG
02
E ALGORITHM
H
VIOUS B4
OTOTYPES
OPOSAL
ON
ECTIVES AND OUTCOMES
GORITHMIC SKETCHES
001
B.0 CHAKRA
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RESTRICTION & STRENGTH - SACRAL The Sacral Chakra is featured by creativity, emotion and movement. For us, the creativity can be the restriction and strength at the same time. We both have a great ability and strong desire to create, while our natures are too ‘shy’ to express ourselves and we sort of refuse to show outside what we are capable of. Besides this, sometimes we instinctly restrain ourselves when we are creating or expressing ourselves and we are often trapped by these obstacles without a real freedom.
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B.0 CHAKRA
SACRAL COLLAGE The intention of this collage is to answer Sacral Chakra and also to indicate my own weakness and strength. The feeling of movement, emotion and creativity are strongly represented by two dancers. The interlocking between them shows a sense of balance, like Yin and Yang. Here, I will say, comes my ability to create, while noticeably the movement actually is governed by the golden ratio curve. I added up this curve subconsciously, and I think this just answers my weakness: always trying to restrain myself.
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B.1RESEARCH FIELDS BONE GROWTH - Cartilage in the region of epiphyseal plate next to the epiphysis to grow by mitosis (replication) - Chondrocytes next to diaphysis age and degenerate (cartilage stops growing and being generated) - Osteoblast move in and ossify the matrix to form bone (ossification in the centre) - Cartilage growth ceases and the epiphyseal plate completely ossifies, only the epiphyseal line remains (stop growing in length) - Continue to increase in the thickness or diameter throughout life in response to to stress from increased muscle Osteoblasts in the periosteum from compact bone around the external bone - surface. (external strong surface) - Osteoblasts in the periosteum break down bone on the internal bone surface around the medullary cavity (inner structure changed and form a void)
SEER Training Modules, BONE DEVELOPMENT & GROWTH, U. S. National Institutes of Health, National Cancer Institute<https://training. seer.cancer.gov/anatomy/skeletal/growth.html> [accessed 24th March]
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ENDOC
- M chondro - Ca perichon - Ca - Pe - Pe - Ca at the en - Se - Ca surface a
CHONDRAL OSSIFICATION
esenchymal cells differentiate into ocytes artilage model of the bony skeleton and the ndrium form apillaries penetrate cartilage erichondrium transforms into periosteum eriosteal collar develops artilage and chondrocytes continue to grow nds of bone econdary ossification centres develop artilage remains at growth plate and at joint as articular cartilage
Marieb, Elaine Nicpon,Hoehn, Katja. (2012) Human anatomy & physiology /Boston : Pearson
Marieb, Elaine Nicpon,Hoehn, Katja, Bone Formation and Development, OpenStax, 2008 <https://opentextbc.ca/anatomyandphysiology/> [accessed 24th March]
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B.1 SCRIPTING THE PROCESS
STAGE 1 DIAGRAMI PROCESS 1. Centre point 2. Outwards growth 3. Invasion of new structure 4. Formation of new secondary points 5. Secondary outwards growth 6. New material replacing the elder structure 7. Formation of the whole structure
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B.1 SCRIPTING THE PROCESS
STAGE 2&3 TRANSLATION + PSEUDO CODE 1
2
3
Origin geometry
Origin
Create Point
Expand outwards to create bounds New centre geometry Expand outwards towards bounds New Secondary Centres within bounds Expand outwards towards bounds
Geometry massing Material effect New origin New geometry massing New effect New origins New massing New effect
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Create sphere Trim sphere Facet dome Centre Point Create sphere Trim sphere Facet dome New offset Points Create spheres Trim spheres Create circles to tangents
4 Crea orig Crea Soli Pop Face Pipe [var
New Crea Soli Pop Face Pipe [var
New Crea Soli Pop Circ Pipe [var
ate Point at gin ate sphere id difference pulate geometry et dome e riations]
w Point ate sphere id difference pulate geometry et dome e riations]
w Point ate sphere id difference pulate geometry cles to centres e riations]
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B.1 SCRIPTING THE PROCESS
n= 20
n= 25 (selected)
n= 60
TF
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n= 80
n= 80 (selected)
n= 10
n= 40
n= 68
n= 75
n= 100
TFF
n= 140
TTF
n= 180 (
T
00
5
(selected)
TTFF
STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL
n= 160
POPULATE GEOMETRY NUMBER (CENTRE)
n= 100
POPULATE GEOMETRY NUMBER (SECONDARY CENTRES)
n= 200
TTFFF (SELECTED
POPULATE GEOMETRY NUMBER (OUTTER SKIN)
CULL PATTERN (CENTRE)
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B.1 SCRIPTING THE PROCESS
CULL PATTERN (OUTTER SKIN)
FRAME FORM
NUMBER OF SECONDARY CENTRE
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TF
TFF
all piping
all mesh
n= 2
n= 3 (selected
d)
STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL
TTF (SELECTED)
all mesh+pipe
n= 4
TTFF
outter: mesh+pipe centre: mesh secondary: mesh
n= 5
TTFFF
outter: pipe centre: mesh+pipe secondary: mesh (selected)
n= 6
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B.1 SCRIPTING THE PROCESS
TF
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TFF
TTF
R= 0.2
R= 0.5
R= 0.5
R= 0.2
R= 0.5
R= 0.8
n
STAGE 4 EXPERIENT WITH PARAMETRIC CONTROL
TTFF
R= 1 (selected)
n= 1.5
TTFFF (selected)
R= 1.2
n= 2 (selected)
CULL PATTERN (CENTRE MESH)
FACET DOME CELL RADIUS (CENTRE)
FACET DOME CELL RADIUS (OUTTER SKIN)
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B.1 SCRIPTING THE PROCESS
STAGE 5 ANALYSIS
We propose this structure can be used as a p
the height limitation makes people can only s
The outer skin symbolizes the primary out
relates to our coexisting strength and weakn
problematic. The cells are more like being pu its relevance to the chakra and bone system
OUTTER SKIN
CENTRE
SECONDARY CENTRES
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pavilion and a contemplating space. The inner cell is more private than the outside corridor and
sit down on ground, which gives us a chance to stop and think.
twards and the inner cells is representing the secondary growth. This symbiotic relationship
ness, as it shows our creativity is depressed by our own restrictions. But the form itself can be
ut together irrelevantly and the connection between them can hardly be detected. Due to this, is weak.
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B.2 CASE STUDY 1.0 This script is by calculating the shortest walk to simulate a branch growing behavior. The reason we chose this script is that we also want to translate the growth of bone in a very organic way. The idea of using shortest walk is logic and the nature of growth. Due to the simplicity of this script, I found there are possibilities to play around, as it can cooperate with many other forms.
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B.2 CASE STUDY 1.0
SCRIPT - BRANCHING FIELD 2D ITERATION ITERATION 1 PROXIMITY GROUP NUMBER
n= 2
n= 3
n= 5 (or
ITERATION 2 SUB-CRUVE DOMAIN
n= 0.1
n= 0.3
n= 0
n= 6
n=
ITERATION 3 PRUNE TREE MIN.
n= 4 (original)
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riginal)
0.6
=8
n= 10
n= 0.8 (original)
n= 9
n= 20
n= 1
n= 10
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B.2 CASE STUDY 1.0
SCRIPT - BRANCHING FIELD 3D ITERATION
original
increase
n= 3
n= 5
n= 8
r = 0.1
r=1
r = 2.5
delaunay 56
move upwards
delaunay with one start point
connection n=0
ITERATION 1 - START POINT
average ITERATION2 - PROXIMITY GROUP AMOUNT
n= 20 ITERATION3 - PIPE RADIUS
random
variable pipe ITERATION4 - DIVIDE CURVE
connection n=6
connection (+move) n=5
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B.2 CASE STUDY 1.0
SCRIPT - BRANCHING FIELD LINK TO BONE GROWTH SYSTEM
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B.3 REVERSE ENGINEERING STEP 1 CASE STUDY 2.0
Kokkugia, ISAW, 2007 <http://www.kokkugia.com/iSAW> [ accessed 1st April]
PROJECT: ISAW by JONATHAN PODBORSEK + ROLAND
The ISAW project is trying to weave together disparate programs in
center and form derives from the foam lattice. It achieved a strong
entirety. We chose this project as we also need to improve our prob through algorithmic languages.
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D SNOOKS
n the redevelopment and hyper densification of Warsawâ&#x20AC;&#x2122;s urban
g connection between each space and establish a fine integral
blem of lacking connection and learn how to create usable space
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1
2
4.1
3
4.2
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B.3 REVERSE ENGINEERING STEP 2 TRANSLATION 1. BOX 2. POPULATE 3D 3. VORONOI 3D 4.SCALE CELLS/FACES TO CENTRE OF EACH 5.FINDING END OF CELL/FACES 6. CREATE MESH THROUGH THE POINTS 7. SMOOTH MESH 8.CULL THE OUTER MESH
6
7
8
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B.3 REVERSE ENGINEERING RESULTS
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During the reversing engineering, Grant and I had very different ideas to achieve the form. My instinct is to use the Voronoi 3d command and find the edge, then pipe them (I have a great obsession with the pipe command since I knew it). The problem of my method is that the variation of connection and joints can never be achieved. Both of our methods didnâ&#x20AC;&#x2122;t work out. After some researches, we found that we can use the very basic element points to build mesh as illustrated in previous pages. What I found really interesting during this process is that we are so drowned and trapped in the existing script. Referring back to my previous argument in part A, besides the possibilities these techniques brought us, they also limit our ability to create new stuff. With all these â&#x20AC;&#x2DC;convenientâ&#x20AC;&#x2122; commands , we barely think deeper with what we are doing. And the final successful outcome is rather simple to use the most basic elements to create the forms we want. I find this is a little bit ironic, that we think the existing function of the software can reduce our workload. It is never the case. After this case study, I find we need to dig deeper for those stuff we are familiar with and then we can achieve a better understanding of what we have now and what we can create in the future.
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B.4 EXPANDING THE ALGORITHM
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CONTINUE FROM B1 - FOCUE ON BEHAVIOUR: ONGOING GROWTH INVADED BY GROWT OF NEW STRUCTURE
- MORE CONNECTIONS BETWEEN TWO SKINS TO ACHIEVE A MORE INTEGRAL FORM
- MORE CONNECTIONS TO OUR STRENGTH AND RESTRICTION, BOTH FORMALLY AND FUNCTIONALLY
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B.4 EXPANDING THE ALGORITHM
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1
2
4
5
DIAGRAM 1. Centre point 2. Outwards growth 3. Primary structure with ongoing growth 4. Formation of new secondary points 3
5. Secondary outwards growth 6. New material invading the primary strcuture and form blobs
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B.4 EXPANDING THE ALGORITHM TRANSLATE RANDOMLY DISTRIBUTED POINTS CREATE BASE GEOMETRY
FACET DOME TRIM WITH BREPS
CREATE SUBTRACTING GEOMETRY
CREATE SPHERE SCALE AND MOVE SPHERE
REMOVE PORTION
MESH INCLUSION DISPATCH
CREATE SECOND SHELL
SCALE DECONSTRUCT BREP
CREATE CONNECTIONS BETWEEN SHELLS
FRAME PANELS
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LINE BETWEEN TWO POINTS PIPE DECONSTRUCT BREP
CENTRE
POINT
ATTRACTORS
CHARGED POINTS FIELDS
GROWTH TO ATTRACTOR
FIELD LINES
GROWTH ON THE SHELL
POPULATE 3D EVALUATE FIELD CULL PATTERN
MOUNTING
DIVIDE CURVE CULL PATTERN SPHERE
MERGE TO A UNION
RANDOM RADIUS FOR SPHERE BREP TO MESH SMOOTH MESH
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B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT
FRAME CELLS AMOUNT
n= 19
n=48
CUT AWAY CELL FACTOR
n= 0
n=1.15
INNER CELL SCALE FACTOR
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n= 1.234
n= 0.971
8
52
n= 124 (selected)
n=237
n= 1.869 (selected)
n= 2.568
n= 0.778
n= 0.621 (selected)
n=360
n= 2.978
n= 0.257
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74
no connection (selected)
one to one connection
pipes
panels
n= 6
n= 10
reduced one to one connection
pipes + panels (selected)
n= 20
s conn
pipes with cu
ran (domai
shift nection
+ panels ull pattern
ndom in: 8-12)
B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT
reduced shift connection
outer shell - pipes + mesh inner shell - pipes
RELATIONSHIP BETWEEN THE DOUBLE LAYERS
MATERIALITY OF THE FRAME
RADIUS OF INEER BALL random (domain: 6-12) (selected)
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B.4 EXPANDING THE ALGORITHM STEP 4 EXPERIMENT
POSITION OF POINT FIELDS
DENSITY OF OUTER BLOBS
DENSITY OF INNER CELLS
Pt A - close Pt B - far
n= 0.6
T
Pt A Pt B
n= 0
FTF
SMOOTHING LEVEL l= 0 76
l= 3
- close - close
0.5
Pt A - close Pt B - far
n= 0.4
3T10F
l= 12 (selected)
close to each other (selected)
n= 0.3 (selected)
FTFTFTF FFTFFFT
l= 48
far from each other
n= 0.1
FTFFTFFFF FTFFFFFF (selected)
n= 100 77
B.4 EXPANDING THE ALGORITHM STEP 4 ANALYSIS
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B.4 EXPANDING THE ALGORITHM STEP 4 PROPOSAL
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B.4 EXPANDING THE ALGORITHM STEP 4 PROPOSAL
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B.4 EXPANDING THE ALGORITHM STEP 5 ANALYSIS
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Formally the framing is representing our restriction on our creativity and the blobs are showing our intention to express ourselves and desire to create amazing stuff. We imagine the strong feeling of dynamism will evoke the willing to create. Also the intimate connections between them indicate the integral relationship between our strength and weakness. For the function, we want this to be working as an open and public studio. Everyone is encouraged to use this space to create what they want. In a sense, our rejection of showing our creativity will dissolve in this environment. The transparency of the space allow public to see what is happening inside the space, which will give a chance to public to raise their intention on creativity.
Problem: -
The rigid joint of the blob and pipes makes they are more individual instead of integral.
-
The use as a studio is not convincible.
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B.4 EXPANDING THE ALGORITHM DEVELOPMENT FROM PREVIOUS B4 _ TRANSLATION
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CORE IDEA Centre point Create outer shell Create inner shell Create connections between shells Generate amorphous geometry on frame Create table Create amorphous connection to frame
INTENTION Create point Create faceted dome Make an opening in the Scale to create inner dom Create lines between she Cull lines below head he Pipe all frame sections Generate random sphere Generate random sphere Create table form Generate random sphere Trim table surface flat Create lines between tab Generate random sphere Adjust distribution and s Smooth together all geo
dome
me
ell vertices
eight
es on outer shell
es on shell connection
es throughout table
ble and frame
es on the lines
scale of all spheres
ometries
GRASSHOPPER COMMANDS Point Pop3d ‐> facet dome ‐> Trim Sphere ‐> mesh inclusion ‐> dispatch Scale Line Cull duplicates (tolerance) Box ‐> mesh inclusion ‐> dispatch Pipe Divide Length + Area centroid Spheres (random scale) Divide length ‐> Cull pattern Spheres (random scale) Curves PopGeometry + divide length ‐> cull Spheres (random scale) Box ‐> mesh difference Closest point ‐> Line Divide length ‐> Cull duplicates Sphere (random scale) Point ‐> length/forces ‐> Scale Graph mapper Random VectorXYZ Cull pattern Union ‐> Weaverbird smoothing 87
B.4 EXPANDING THE ALGORITHM MORE ITERATIONS
n= 87 cut away factor= 2.2
l=0
cube
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n= 87 cut away factor= 2.2
l = 20 (selected)
smoothed cube
n= 87 cut away factor= 2.2
l= 50
sphere
s
POPULATE 3D CELL AMOUNT n=153 cut away factor= 1.339 (selected)
n= 248 cut away factor= 0
SMOOTH LEVEL l = 100
smoothed sphere (selected)
l = 200
BLOB FORM triangles
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B.4 EXPANDING THE ALGORITHM MORE ITERATIONS
OUTER BLOBS DISTRIBUTION linear decay
OUTER BLOB SCALE
BRIDGING
BRIDGING BLOBS
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small
one to one
even decay
imbalance (selected)
large
one to one with cull pattern (selected)
cull
even distribution
super dense
heavy top
random
random decay (selected)
light top
fully shift
shift with cull pattern
no connection
offset
random cull answering the outer blobs ďź&#x2C6;selected)
even 91
B.4 EXPANDING THE ALGORITHM MORE ITERATIONS
cull + offset (selected)
multiple
even
single layer
f= 0.9
f= 1.5 (selected)
sphere blobs
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smoothed blobs
random blobs
CONNECTION TO TABLE fully
linear
RELATIONSHIP BETWEEN SKIN f= 1.5
f= 0.5
CENTRAL TABLE flat top with loft
flat top with blobs (selected)
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B.5 TECHNIQUE: PROTOTYPES TEST 01 STEP1: TO GET THE MODEL PRINTABLE, WE HAVE DONE THE FOLLOWING MODIFICATION:
original
union
STEP 2 TEST PRINGTING WITH MAKERBOT
Rhino Model
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In Makerbot
Printing
smooth
flat base
cap hole
FAIL!!!
Problems: - the pipes are too close to 2 mm, which requires too many supports and also - more than 22 hrs. - better with powder printing Preview
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B.5 TECHNIQUE: PROTOTYPES TEST 02 STEP 1 REDO PRINTING MODEL AND TEST
Rhino Model
STEP 2 PRINTING
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In Makerbot
Printing
STEP 3 REMOV
SOLUTION
To have a thicker structure, we have a sectional prototype and then scale it to a printable size. Luckily, we have this printed with Grantâ&#x20AC;&#x2122;s own printer. But next time. time mangement and printability should be well considered .
g Preview
VING SUPPORTS
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B.5 TECHNIQUE: PROTOTYPES STEP 3 TIDYING & FINSIH The final outcome reveals that the 3D printing techniques is the optimal options for our project. The organic and dynamic forms can be achieved through this method. But this doesnâ&#x20AC;&#x2122;t mean that we have less work to do, on the contrary, the model need to be designed with more consideration and details. We also need to relate this to the future construction, when it is built in a bigger scale in real life, not only the structure but also more factors need to be included. Here I found that is the chance we can improve our design.
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B.6 TECHNIQUE: PROPOSAL Overall, we are satisfied with outcome and the project has successfully answered our restriction and also the strength. But at the same time, we feel there could be more possibilities that we can have for this proposal. Again, we were trapped in our restriction and we were too determined for we want in the end. One of the biggest advantages of parametric design was missed during this process and for the development, we want to try more forms and to get more exciting outcomes, instead of sticking into one result.
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B.6 TECHNIQUE: PROPOSAL
SITE PLAN
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The site is located at a big open space near Dights Falls. The high density of plants and Yarra River provides a cozy environment for public studio. As this is one of the major recreational place in this area, this location perfectly suit our intention to encourage the public to create. The steep cliff opposite to the site will also allow people a chance to view the project from above.
10m
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B.6 TECHNIQUE: PROPOSAL
BIRD VIEW 1:100
FRONT ELEVATION 1:100
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PLAN 1:100
REAR ELEAVTION 1:100
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B.6 TECHNIQUE: PROPOSAL
SIDE ELEVATIO
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SECTION 1:100
ON 1:100
SIDE ELEVATION 1:100
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B.6 TECHNIQUE: PROPOSAL
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B.6 TECHNIQUE: PROPOSAL
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111
B.6 TECHNIQUE: PROPOSAL
INTER
112
RIOR
113
B.6 TECHNIQUE: PROPOSAL
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IN CONEXT As mentioned before, the studio will be open to public and we intend to evoke not only our own creativity but also everyone. The panels on outer skin will interactively show what is happening what is happening inside the studio, by which we hope to dress more interest from the visitors.
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B.7. LEARNING OBJECTIVES AND OUTCOMES In the passing few weeks, my feelings about all these has been changing dramatically. At the beginning, I was excited to learn an entirely new way to design and also to explore the inner part of me. I believed that I could resolve my restriction with the infinite possibilities brought by parametric design. At least, I can be free this time. Starting from the system and algorithm is totally different process from what I had before. I tried not to restrain myself, while the final outcomes revealed that, the restrictions I put on myself were still haunting around. As the script getting more complex, I strated to have a very strong feeling of insecurity. The fear of cannot control the situation makes me feel like floating in the air. I started to rethink my understanding of my restriction. I found I might be wrong before, as I somehow enjoyed the feeling of creating with the restriction and sometimes something beautiful has been done. After introducing the proposal to the project, I felt the I was on the right track again, and this made me realise what I enjoyed actually is to have the control of what I’m doing instead of having restriction. Because I’m familiar with this way of design (with some clear purposes) and I feel safe to do this. The new way of parametric design requires me to have a deeper understanding then I can get the control on this. My weakness was still there and restraining my creativity. The restriction can be easily found in our final proposal, but I feel happy to see them. At least this time, I know what my real problem is and I’m prepared to have positive attitude to accept and solve it. I’m really looking forward to the next stage, that we can truly go wild. With a deeper understanding of what we have now, I do believe that we could have more chances to create something amazing and also overcome our weakness.
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B.8. APPENDIX - ALGORITHMIC SKETCHES Field is the main area I was playing around, as I found it interestingly simulate a natural behavior and the logic behind is very clear. Also, I applied this technique into our program, as we want to give dynamic and organic characteristics to the form. The attractors, also can be thought as a type of restriction, guide the curves to create a such beautiful form. I canâ&#x20AC;&#x2122;t help thinking, if I can never get rid of those restrictions on myself, how can I embrace them and make them the positive parts of me. Maybe the fact Iâ&#x20AC;&#x2122;m too focused on the restriction is the real blockage I have...
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