MODULE TWO: GENERATING IDEAS THROUGH PROCESSES
Kolerevic B. 2003. Architecture in the Digital Age | Chapter 3: Digital Production
What is the significance of Frank Gehry’s project in relation to Digital Fabrication? Use an example to explain your point.
Being able to provide direct tactility through physical modeling is preferred over to ‘flat’ digital computation on screens. Digital fabrication allowed Frank Gehry's design for the large ‘Fish Sculpture’ to fit the project’s financial and scheduling constraints. It enabled the project’s complex geometry to be both describable and producible, having a high degree of precision within both the fabrication and assembly process. The project utilized a three-dimensional modeling and manufacturing program called CATIA (Computer Aided Three Dimensional Interactive Application). The 3D models were used in the design development, structural analysis and as a source of construction information - digitally revolutionizing architecture.
What are the three dominant forms of fabrication technique outline in Kolerevic’s text? Choose one of the techniques and expand on how this could be useful in design?
The three dominant forms of fabrication technique in Kolerevic’s text are subtractive fabrication, additive fabrication, and formative fabrication.
Formative fabrication utilizes mechanical forces, restrictive forms and the application of heat of steam to form the desired shape through deformation or molding. The benefit of formative fabrication is that desired shapes can be created out of materials that were previously not possible or handcrafted, at a quicker rate, allowing for a more accessible and time-effective method of physical modeling and construction. By mass-producing designs using machines, large amounts of identical components can be made to produce and fabricate modulated designs in a manner that allows for growth and flexibility in the design process.
Essential Algorithms and Data Structure, Rajaa Issa, 2020
When designing an algorithm, what is the 4-steps process?
The four-steps process for designing an algorithm is: go clearly identify the desired outcome (output), identify key steps to reach said outcome (key processes), examine the initial data and parameters (input) and lastly to define the intermediate steps to generate missing data (intermediate processes and input).
Why is it necessary to organise your definition using clear labeling, groups and colour coding?
It is necessary to organise your definitions to make your algorithm easier to read, understand, debug, reuse of modify. Clear labeling makes it easy to scan through and read where properties exist and what they do. Grouping allows for a clear distinction between inputs, outputs and processes. Colour coding enables a quick analysis of where errors occur within the algorithm that you may easily debug and similarly helps in distinguishing elements from one another. Grasshopper’s colour coding also allows you to understand the different object states of components: preview off/ on, enabled/disabled, empty containers and successful containers as well as error messages to allow for easy troubleshooting and readability.
REFLECTION QUESTIONS
What is the key concept explored through your laser cut and 3d-print models?
The key concept explored through the lasercut and 3D print models was the creation of angular geometry through additive and subtractive processes using a modular geometry - the diamond.
What is the quality of the space generated in your design fragment? Consider this as a fragment of space and the scale is not yet determined, i.e. it can be 1:5 scale or 1:50 scale.
The quality of the space generate in my design fragment is intimate and comfortable, showing the ability to facilitate small social gatherings or individual relaxation through small resting regions and flat, sloping surfaces that direct movement to those areas.
Consider this as a fragment of a pavilion design. Can you start to speculate on the threshold condition or possible means of circulating through your structure? Again, what sort of scale will your structure need to be?
The final design produced could be used as a modular, repeatable element across the pavilion structure that creates small intimate pockets. As a more static space, it creates a threshold between the interior and exterior of the pavilion - an intermediate waiting area. By rotating the geometry around an edge, its repetition could create a point at which to circulate around on a path to a larger, amphitheater-like region of the pavilion. The scale of the structure will need to be relatively small - approximately 4m in width.
ADDITIVE AND SUBTRACTIVE
SOLID GENERATION
ITERATION MATRIX
The iteration matrix created focuses on geometry, scale and rotation both using series and point attractors.
The geometry used consists of: diamonds, cubes, irregular diamonds and pyramids.
The primary parameters of my matrix were to follow a strict series of: geometry, scale, then rotation to create the iterations - completing the series iterations prior to the point attractors.
I considered iterations that had variation across its grid successful, as well as iterations in which the geometry touched one another both horizontally and vertically, to allow the cropped bounding boxes to have a solid piece of geometry when completing both the boolean difference and boolean intersection commands.
The parameters which guided these were often the scale and rotation commands. These were easier to manipulate using point attractors than series adjustments.
I completed these series of parameters across: growth, curve, and grid geometries. As such, I’ve split my matrix up into 4 parts.
MATRIX 1 - GRID
MATRIX 2 - GROWTH
MATRIX 3 - GROWTH BY POINT ATTRACTOR
MATRIX 4 - ALIGNED TO CURVE
KEY ITERATIONS
M3-4.07.02
Using two point attractors, I created a growth geometry using an irregular diamond geometry - with each growth extension scaled at 0.7 of the previous geometry.
I created the cropped iteration using boolean difference.
I chose to capture the result because the contrast between sharp 90 degree angles and more obtuse angles enabled a variation in form and a creation of distinct spaces.
I’m interested in the separation of heights to create volume and space and the ways in which they could be appropriated within a pavilion context.
The iteration process allowed me to explore different geometry and how each modular element interacted with its adjacent geometry at different scales.
M3-4.02.01
Using two point attractors, I created a growth geometry using a regular diamond geometry - with each growth scaled at 0.7 of the previous geometry.
I created the cropped iteration by using boolean difference after rotating the bounding box 45 degrees using the gum ball in all directions.
I chose to capture the results above because of its seemingly symmetrical appearance and intersecting lines.
I can envision this as a potential seating element within a larger pavilion context.
The iteration process allowed me to explore different geometry and how each modular element interacted with its adjacent geometry at different scales.
M4-5.05.01
Diamond geometry on two curves, alternating scales in a true, false pattern with scales of 1 and 5.
I created the cropped iteration using boolean intersection.
I chose to capture the results as it had flatter, thin surfaces as compared to the other iterations created with smaller geometry elements.
I’m interested by flat surfaces created and how they could be manipulated as wall, ceiling or ground elements to create steps, terracing or different atmospheric effects through an increase in ceiling height.
By maximizing the scale of elements on a curve, I was able to explore how geometry collides to create different effects.
3D GENERATION
To create the 3D print file, I first selected my iterations and turned them into meshes rather than polysurfaces. Once the meshes were created, I ran MeshRepair in Rhino to ensure that my meshes were good for 3D printing. Once repaired, I exported the STL file and opened it in MakerBot Print.
I selected the Replicator+ Printer and turned on supports to Breakaway Supports and enabled a Raft base layer. From there, I rotated the geometry to minimize the amount of supports needed to zero, and placed them all on the printing space.
The time constraint of creating the printed models was challenging - 4h 33m for the combined 3 models. I also had to ensure that the geometry’s elements were not too thin for the 3D print.
I have learned to repair meshes, check the thickness of geometry and to rotate the geometry within MakerBot Print to ensure that the 3D print is maximized in terms of cost and time efficiency.
ISOMETRIC DRAWING M3-4.07.02
The iteration was created through the process of exploring point attractor growth using an irregular diamond geometry at a variety of scales.
The cropped isometric distinctly shows the variation in height across the sloping surfaces and the subtracted regions that create pockets of more static space addressing porosity. The slopes create a directional, kinetic flow across the geometry, addressing permeability.
ISOMETRIC DRAWING M3-4.02.01
The iteration was created through the process of exploring point attractor growth using a diamond geometry at a variety of scales.
The geometry has angular pockets and flat, sloping surfaces that create an interesting interplay between the ground and overhead planes to develop a sense of intimacy and safety. It addresses porosity through the subtracted geometries that create pockets of static spaces and permeability through the angular, directional overhanging plane and the sloping nature of all flat surfaces that force movement across the geometry.
ISOMETRIC DRAWING M4-5.05.01
The iteration was created through the process of experimentation with geometry on a curve - in this iteration, two - and the patterned alteration of scale.
The model has a jagged terrace like quality and a sense of solidity. It addresses ideas of permeability and porosity through the planes of relatively flat, resting regions and dramatic directional slopes that create a visual movement across the form and interesting effects with the addition of light, sound, wind and water.
3D PRINT PHOTOGRAPHY
M3-4.07.02
I selected a seating scale to create different levels of benches to create a resting area for the pavilion. I chose that scale as the steps create a distinction in height and space that is easily appropriated by resting users. The scale of geometry within my parameters led to these qualities, as well as the orthogonal quality of the irregular diamond geometry.
M4-5.05.01
I used the monolithic quality of the large faceted surface in this iteration to create a large, cave like appearance by increasing the scale. I’m drawn to the angular facades as a roof/wall. The scale and curve to which the geometry was aligned to led to the creation of these qualities.
M3-4.02.01
The space I’ve created with this smaller, intimate scale is representative of what I’d like to create as a modular segment of the overall pavilion, with pillar like intersections to the ground facilitating seating within the pavilion. The intersection of the geometry and the sloped seats allows for both individual rest and relaxation as well as a social gathering space as the seats are perpendicular to one another.
The symmetry of the geometry chosen (diamond) allowed for the creation of these qualities.
SECTION & WAFFLE
3D PRINT PHOTOGRAPHY
I have chosen iteration M3-4.07.02 to go forward with the Section & Waffle Structure. The aspects that drew me to select this iteration are the combination of extruding and cut out geometry as well as its potential to be created into a modular seating element as seen in my 3D print photography. By rotating the iteration, it also creates a large blocky monolithic appearance with an angular cave-like entrance. Overall, the geometry is versatile in creating a variety of spaces depending on its rotation and scale.
SECTIONING SCRIPT
MODEL MAKING
LASER CUTTING
To create the laser cut file for my model, I first baked all the flat geometries with their corresponding text and copied them to the laser cut template. From there I rearranged the text and surfaces, nesting them in a cluster of their contour direction and model type, placing flat cut edges together for adjacent pieces to minimize the amount of cuts.
I then used DupEdge to create curves from the surfaces and deleted the input surfaces. Then, the layers were organized to make the text in etching and the surface edges in cuts. By selecting a singular line from each piece and transferring them to the etching layer, I removed the need for masking tape to hold the pieces together once cut, allowing for a cleaner model.
The constraints of the laser cutting model were the pre-set material thicknesses and the size of the material 600mm x 900mm. I prioritised efficiency of model making over material efficiency because both models fit easily on a singular sheet of material, however I also arranged them to match edges to improve the cost efficiency of the lasercut.
I’ve learned to balance cost, assembly and material factors and how to use fablab’s template to submit jobs.
ISOMETRIC DRAWINGS
The isometric structure is created using an XY Waffle with contours set at 8mm distances in both directions. The material has a thickness of 1mm and the overall dimensions of 100mm x 100mm. I chose to use an XY waffle as it best accentuated the sloping surfaces of the seating elements and the angular overhang. The 8mm distance between contours ensured none of the contour surfaces became too thin - as was a problem in the 10mm contours. The model has protruding elements such as the seating and overhang as well as subtracted cavities as is seen to the left of the model, making it an interesting structure for the concept of socialization and individual retreat.
I’ve pulled out two panels on either side of the seating to demonstrate the consideration of notch placements to accommodate the more complex contours toward the back of the model.
The isometric structure is created using a radial waffle with the number of radials set to 30. The disks are placed at heights of 35mm from the top and 45mm from the bottom to best facilitate all the radials attached. The material has a thickness of 1mm and overall height and width of 100mm x 100mm. I chose to position the radial on the back edge of the model to best accentuate the angular flow of the geometry, that was not as well portrayed with a central radial.
The left hand cavity is better represented in the radial model than it is in the waffle structure on the previous page, showing the recession in a smooth, transitional manner.
I have extracted the two radial disks to show the positioning and height at which they sit.
LASER CUT MODEL PHOTOGRAPHY
XY Waffle Structure with contours at distances of 8mm.
This scale was selected to create a sense of intimacy and shelter in a seating arrangement that enabled a casual setting for both retreat and socialization.
Thin sharp edges were removed in the process of creating the waffle as the geometry was limited by the need for interconnecting notches between contour intersections.
The XY direction of the waffle structure emphasised the sharp, angular nature of the geometry, especially seen in the overhanging element.
Radial Waffle Structure with disks on the edge of the geometry and a radial count of 30.
This scale was selected to create a sense of intimacy and shelter in a seating arrangement that enabled a casual setting for both retreat and socialisation.
Due to the positioning of the disks, the radials were limited in terms of quantity, which sacrificed the level of detail incorporated into the model - prioritising the emphasis on the geometry’s directionality.
As a result of the radial positioning, the geometry takes on a more fluid, smooth transition from left to right, creating a gentle curve in the seating rather than emphasizing the angular nature of the overhang.
APPENDIX
