Department of Architecture Cal Poly San Luis ObispoArch 461: Computer-Aided FabricationFall 2011

1 / 2

PARAMETRICALLY PERMEABLE PATTERNING PROCESSED FIELDS

To generalize, a field condition could be any formal or spatial matrix capable of unifying diverse elements while respecting the identity of each…[They] are bottom-up phenomena, defined not by overarching geometrical schemas but by intricate local connections.

–Stan Allen, “Field Conditions”

2:

As digital representation and fabrication tools have become more widely used, the field condiion has experienced an increased prevalence (and relevance) in design. Fields are superficially seductive, but they also suggest a nuanced designed process based on performance rather than appearance: images and objects are mass-customized to reflect and effect a spectrum of unique circumstances and desires, and efficiency is achieved through differentiation rather than standardization.

For this project you will generate, manipulate, and fabricate a series of field conditions in the form of monolithic panels. These field conditions will initially be generated within Grasshopper, focusing on a distilled geometric language (a field of only points, a field of only lines, a field of only polygons, and a field created by a surface) that coincide with typical operations of the CNC router (drilling, contouring, pocketing, and surfacing). Rather than working towards a predetermined aesthetic result for these panels, you are asked to take a bottom-up approach, studying and exploiting the logics of tools, materials, and fabrication processes to create a series of emergent field conditions. While these abstract and open-ended processes will frame your work, the panels resulting from them could be thought of as controlling air, light, sound or water—how can these flows be slowed, stopped, split, reflected, collected, refracted, deflected, permitted, augmented, absorbed, or accelerated? How do form, material, and texture play into these performances?

The process and product of each panel should be thoroughly documented using sketches, screen, captures, and photographs, and posted to the course blog.

OBJECTIVESThis exercise is meant to develop the following skills and concepts:

• Utilizing fields as a compositional and performative strategy• Exploring the affordances and limitations of tools, materials, and processes • Understanding the difference of drawing for visualization vs. fabrication• Learning RhinoCAM software, and understanding it as a design tool• Learning to safely and strategically operate the CNC router

The

Univ

ersi

ty o

f Virg

inia

Sch

ool o

f Arc

hite

ctur

eAr

chite

ctur

e 55

00 –

Dig

ital F

abric

atio

nIn

stru

ctor

: Jef

f Pon

itz

Fall

Term

, 201

0

1 / 2

PHAS

E I:

PERF

ORM

ATIV

E PE

RMEA

BLE

PATT

ERNI

NG

To g

ener

alize

, a fi

eld

cond

ition

coul

d be

any

form

al or

spa

tial m

atrix

cap

able

of u

nify

ing

dive

rse

elem

ents

whi

le re

spec

ting

the

iden

tity

of e

ach.

…

[The

y] a

re b

otto

m-u

p ph

enom

ena,

def

ined

not

by

over

arch

ing

geom

etric

al sc

hem

as b

ut b

y in

trica

te lo

cal c

onne

ctio

ns.

–Sta

n Al

len,

“Fi

eld

Cond

ition

s”

As d

igita

l rep

rese

ntat

ion

and

fabr

icat

ion

tool

s ha

ve b

ecom

e m

ore

wide

ly u

sed,

the

field

con

ditio

n ha

s ex

perie

nced

an

incr

ease

d pr

eval

ence

(and

rele

vanc

e) in

des

ign.

Fie

lds

are

sedu

ctiv

e, b

ut th

ey a

lso

sugg

est a

nua

nced

des

ign

proc

ess

base

d on

per

form

ance

rath

er th

an a

ppea

ranc

e: im

ages

and

obj

ects

are

mas

s-cu

stom

ized

to re

flect

and

effe

ct a

spe

ctru

m o

f uni

que

circ

umst

ance

s an

d de

sire

s, a

nd e

ffici

ency

is a

chie

ved

thro

ugh

diffe

rent

iatio

n ra

ther

than

sta

ndar

diza

tion.

For t

his

intro

duct

ory

phas

e of

you

r des

ign-

rese

arch

, you

will

gen

erat

e, m

anip

ulat

e, a

nd fa

bric

ate

a se

ries

of fi

eld

cond

ition

s in

th

e fo

rm o

f 12”

x 12

” x ?

” til

es. T

hese

tile

s co

uld

be th

ough

t of a

s co

ntro

lling

air,

ligh

t, so

und,

or w

ater

—ho

w ca

n th

ese

flows

be

slow

ed, s

topp

ed, s

plit,

refle

cted

, col

lect

ed, r

efra

cted

, def

lect

ed, p

erm

itted

, aug

men

ted,

abs

orbe

d, o

r acc

eler

ated

? Ho

w do

form

, m

ater

ial,

and

textu

re p

lay

into

thes

e pe

rform

ance

s? R

athe

r tha

n wo

rkin

g to

ward

s a

pred

eter

min

ed a

esth

etic

resu

lt fo

r the

se ti

les,

yo

u ar

e as

ked

to ta

ke a

bot

tom

-up

appr

oach

, exp

lorin

g ov

erla

ps b

etwe

en to

ols,

mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses

to c

reat

e a

serie

s of

em

erge

nt fi

eld

cond

ition

s.

The

proc

ess

and

prod

uct o

f eac

h til

e sh

ould

be

thor

ough

ly d

ocum

ente

d us

ing

sket

ches

, scr

een

capt

ures

, and

pho

togr

aphs

.

OBJE

CTIV

ESEx

plor

ing

the

affo

rdan

ces

and

limita

tions

of t

ools

, mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses,

and

pla

ying

them

off

one

anot

her

Unde

rsta

ndin

g th

e di

ffere

nce

betw

een

draw

ing

or m

odel

ing

for v

isua

lizat

ion

vs. f

abric

atio

nLe

arni

ng M

aste

rCAM

sof

twar

e, a

nd u

nder

stan

ding

it a

s a

criti

cal t

hres

hold

of t

he d

igita

l des

ign/

build

wor

kflo

wLe

arni

ng to

saf

ely

and

stra

tegi

cally

ope

rate

the

CNC

rout

er

The

Univ

ersi

ty o

f Virg

inia

Sch

ool o

f Arc

hite

ctur

eAr

chite

ctur

e 55

00 –

Dig

ital F

abric

atio

nIn

stru

ctor

: Jef

f Pon

itz

Fall

Term

, 201

0

1 / 2

PHAS

E I:

PERF

ORM

ATIV

E PE

RMEA

BLE

PATT

ERNI

NG

To g

ener

alize

, a fi

eld

cond

ition

coul

d be

any

form

al or

spa

tial m

atrix

cap

able

of u

nify

ing

dive

rse

elem

ents

whi

le re

spec

ting

the

iden

tity

of e

ach.

…

[The

y] a

re b

otto

m-u

p ph

enom

ena,

def

ined

not

by

over

arch

ing

geom

etric

al sc

hem

as b

ut b

y in

trica

te lo

cal c

onne

ctio

ns.

–Sta

n Al

len,

“Fi

eld

Cond

ition

s”

As d

igita

l rep

rese

ntat

ion

and

fabr

icat

ion

tool

s ha

ve b

ecom

e m

ore

wide

ly u

sed,

the

field

con

ditio

n ha

s ex

perie

nced

an

incr

ease

d pr

eval

ence

(and

rele

vanc

e) in

des

ign.

Fie

lds

are

sedu

ctiv

e, b

ut th

ey a

lso

sugg

est a

nua

nced

des

ign

proc

ess

base

d on

per

form

ance

rath

er th

an a

ppea

ranc

e: im

ages

and

obj

ects

are

mas

s-cu

stom

ized

to re

flect

and

effe

ct a

spe

ctru

m o

f uni

que

circ

umst

ance

s an

d de

sire

s, a

nd e

ffici

ency

is a

chie

ved

thro

ugh

diffe

rent

iatio

n ra

ther

than

sta

ndar

diza

tion.

For t

his

intro

duct

ory

phas

e of

you

r des

ign-

rese

arch

, you

will

gen

erat

e, m

anip

ulat

e, a

nd fa

bric

ate

a se

ries

of fi

eld

cond

ition

s in

th

e fo

rm o

f 12”

x 12

” x ?

” til

es. T

hese

tile

s co

uld

be th

ough

t of a

s co

ntro

lling

air,

ligh

t, so

und,

or w

ater

—ho

w ca

n th

ese

flows

be

slow

ed, s

topp

ed, s

plit,

refle

cted

, col

lect

ed, r

efra

cted

, def

lect

ed, p

erm

itted

, aug

men

ted,

abs

orbe

d, o

r acc

eler

ated

? Ho

w do

form

, m

ater

ial,

and

textu

re p

lay

into

thes

e pe

rform

ance

s? R

athe

r tha

n wo

rkin

g to

ward

s a

pred

eter

min

ed a

esth

etic

resu

lt fo

r the

se ti

les,

yo

u ar

e as

ked

to ta

ke a

bot

tom

-up

appr

oach

, exp

lorin

g ov

erla

ps b

etwe

en to

ols,

mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses

to c

reat

e a

serie

s of

em

erge

nt fi

eld

cond

ition

s.

The

proc

ess

and

prod

uct o

f eac

h til

e sh

ould

be

thor

ough

ly d

ocum

ente

d us

ing

sket

ches

, scr

een

capt

ures

, and

pho

togr

aphs

.

OBJE

CTIV

ESEx

plor

ing

the

affo

rdan

ces

and

limita

tions

of t

ools

, mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses,

and

pla

ying

them

off

one

anot

her

Unde

rsta

ndin

g th

e di

ffere

nce

betw

een

draw

ing

or m

odel

ing

for v

isua

lizat

ion

vs. f

abric

atio

nLe

arni

ng M

aste

rCAM

sof

twar

e, a

nd u

nder

stan

ding

it a

s a

criti

cal t

hres

hold

of t

he d

igita

l des

ign/

build

wor

kflo

wLe

arni

ng to

saf

ely

and

stra

tegi

cally

ope

rate

the

CNC

rout

er

The

Univ

ersi

ty o

f Virg

inia

Sch

ool o

f Arc

hite

ctur

eAr

chite

ctur

e 55

00 –

Dig

ital F

abric

atio

nIn

stru

ctor

: Jef

f Pon

itz

Fall

Term

, 201

0

1 / 2

PHAS

E I:

PERF

ORM

ATIV

E PE

RMEA

BLE

PATT

ERNI

NG

To g

ener

alize

, a fi

eld

cond

ition

coul

d be

any

form

al or

spa

tial m

atrix

cap

able

of u

nify

ing

dive

rse

elem

ents

whi

le re

spec

ting

the

iden

tity

of e

ach.

…

[The

y] a

re b

otto

m-u

p ph

enom

ena,

def

ined

not

by

over

arch

ing

geom

etric

al sc

hem

as b

ut b

y in

trica

te lo

cal c

onne

ctio

ns.

–Sta

n Al

len,

“Fi

eld

Cond

ition

s”

As d

igita

l rep

rese

ntat

ion

and

fabr

icat

ion

tool

s ha

ve b

ecom

e m

ore

wide

ly u

sed,

the

field

con

ditio

n ha

s ex

perie

nced

an

incr

ease

d pr

eval

ence

(and

rele

vanc

e) in

des

ign.

Fie

lds

are

sedu

ctiv

e, b

ut th

ey a

lso

sugg

est a

nua

nced

des

ign

proc

ess

base

d on

per

form

ance

rath

er th

an a

ppea

ranc

e: im

ages

and

obj

ects

are

mas

s-cu

stom

ized

to re

flect

and

effe

ct a

spe

ctru

m o

f uni

que

circ

umst

ance

s an

d de

sire

s, a

nd e

ffici

ency

is a

chie

ved

thro

ugh

diffe

rent

iatio

n ra

ther

than

sta

ndar

diza

tion.

For t

his

intro

duct

ory

phas

e of

you

r des

ign-

rese

arch

, you

will

gen

erat

e, m

anip

ulat

e, a

nd fa

bric

ate

a se

ries

of fi

eld

cond

ition

s in

th

e fo

rm o

f 12”

x 12

” x ?

” til

es. T

hese

tile

s co

uld

be th

ough

t of a

s co

ntro

lling

air,

ligh

t, so

und,

or w

ater

—ho

w ca

n th

ese

flows

be

slow

ed, s

topp

ed, s

plit,

refle

cted

, col

lect

ed, r

efra

cted

, def

lect

ed, p

erm

itted

, aug

men

ted,

abs

orbe

d, o

r acc

eler

ated

? Ho

w do

form

, m

ater

ial,

and

textu

re p

lay

into

thes

e pe

rform

ance

s? R

athe

r tha

n wo

rkin

g to

ward

s a

pred

eter

min

ed a

esth

etic

resu

lt fo

r the

se ti

les,

yo

u ar

e as

ked

to ta

ke a

bot

tom

-up

appr

oach

, exp

lorin

g ov

erla

ps b

etwe

en to

ols,

mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses

to c

reat

e a

serie

s of

em

erge

nt fi

eld

cond

ition

s.

The

proc

ess

and

prod

uct o

f eac

h til

e sh

ould

be

thor

ough

ly d

ocum

ente

d us

ing

sket

ches

, scr

een

capt

ures

, and

pho

togr

aphs

.

OBJE

CTIV

ESEx

plor

ing

the

affo

rdan

ces

and

limita

tions

of t

ools

, mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses,

and

pla

ying

them

off

one

anot

her

Unde

rsta

ndin

g th

e di

ffere

nce

betw

een

draw

ing

or m

odel

ing

for v

isua

lizat

ion

vs. f

abric

atio

nLe

arni

ng M

aste

rCAM

sof

twar

e, a

nd u

nder

stan

ding

it a

s a

criti

cal t

hres

hold

of t

he d

igita

l des

ign/

build

wor

kflo

wLe

arni

ng to

saf

ely

and

stra

tegi

cally

ope

rate

the

CNC

rout

er

The

Univ

ersi

ty o

f Virg

inia

Sch

ool o

f Arc

hite

ctur

eAr

chite

ctur

e 55

00 –

Dig

ital F

abric

atio

nIn

stru

ctor

: Jef

f Pon

itz

Fall

Term

, 201

0

1 / 2

PHAS

E I:

PERF

ORM

ATIV

E PE

RMEA

BLE

PATT

ERNI

NG

To g

ener

alize

, a fi

eld

cond

ition

coul

d be

any

form

al or

spa

tial m

atrix

cap

able

of u

nify

ing

dive

rse

elem

ents

whi

le re

spec

ting

the

iden

tity

of e

ach.

…

[The

y] a

re b

otto

m-u

p ph

enom

ena,

def

ined

not

by

over

arch

ing

geom

etric

al sc

hem

as b

ut b

y in

trica

te lo

cal c

onne

ctio

ns.

–Sta

n Al

len,

“Fi

eld

Cond

ition

s”

As d

igita

l rep

rese

ntat

ion

and

fabr

icat

ion

tool

s ha

ve b

ecom

e m

ore

wide

ly u

sed,

the

field

con

ditio

n ha

s ex

perie

nced

an

incr

ease

d pr

eval

ence

(and

rele

vanc

e) in

des

ign.

Fie

lds

are

sedu

ctiv

e, b

ut th

ey a

lso

sugg

est a

nua

nced

des

ign

proc

ess

base

d on

per

form

ance

rath

er th

an a

ppea

ranc

e: im

ages

and

obj

ects

are

mas

s-cu

stom

ized

to re

flect

and

effe

ct a

spe

ctru

m o

f uni

que

circ

umst

ance

s an

d de

sire

s, a

nd e

ffici

ency

is a

chie

ved

thro

ugh

diffe

rent

iatio

n ra

ther

than

sta

ndar

diza

tion.

For t

his

intro

duct

ory

phas

e of

you

r des

ign-

rese

arch

, you

will

gen

erat

e, m

anip

ulat

e, a

nd fa

bric

ate

a se

ries

of fi

eld

cond

ition

s in

th

e fo

rm o

f 12”

x 12

” x ?

” til

es. T

hese

tile

s co

uld

be th

ough

t of a

s co

ntro

lling

air,

ligh

t, so

und,

or w

ater

—ho

w ca

n th

ese

flows

be

slow

ed, s

topp

ed, s

plit,

refle

cted

, col

lect

ed, r

efra

cted

, def

lect

ed, p

erm

itted

, aug

men

ted,

abs

orbe

d, o

r acc

eler

ated

? Ho

w do

form

, m

ater

ial,

and

textu

re p

lay

into

thes

e pe

rform

ance

s? R

athe

r tha

n wo

rkin

g to

ward

s a

pred

eter

min

ed a

esth

etic

resu

lt fo

r the

se ti

les,

yo

u ar

e as

ked

to ta

ke a

bot

tom

-up

appr

oach

, exp

lorin

g ov

erla

ps b

etwe

en to

ols,

mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses

to c

reat

e a

serie

s of

em

erge

nt fi

eld

cond

ition

s.

The

proc

ess

and

prod

uct o

f eac

h til

e sh

ould

be

thor

ough

ly d

ocum

ente

d us

ing

sket

ches

, scr

een

capt

ures

, and

pho

togr

aphs

.

OBJE

CTIV

ESEx

plor

ing

the

affo

rdan

ces

and

limita

tions

of t

ools

, mat

eria

ls, a

nd fa

bric

atio

n pr

oces

ses,

and

pla

ying

them

off

one

anot

her

Unde

rsta

ndin

g th

e di

ffere

nce

betw

een

draw

ing

or m

odel

ing

for v

isua

lizat

ion

vs. f

abric

atio

nLe

arni

ng M

aste

rCAM

sof

twar

e, a

nd u

nder

stan

ding

it a

s a

criti

cal t

hres

hold

of t

he d

igita

l des

ign/

build

wor

kflo

wLe

arni

ng to

saf

ely

and

stra

tegi

cally

ope

rate

the

CNC

rout

er

2 / 2

The University of Virginia School of ArchitectureArchitecture 5500 – Digital FabricationInstructor: Jeff Ponitz Fall Term, 2010

1 / 2

PHASE I: PERFORMATIVE PERMEABLE PATTERNING

To generalize, a field condition could be any formal or spatial matrix capable of unifying diverse elements while respecting the identity of each. … [They] are bottom-up phenomena, defined not by overarching geometrical schemas but by intricate local connections.

–Stan Allen, “Field Conditions”

As digital representation and fabrication tools have become more widely used, the field condition has experienced an increased prevalence (and relevance) in design. Fields are seductive, but they also suggest a nuanced design process based on performance rather than appearance: images and objects are mass-customized to reflect and effect a spectrum of unique circumstances and desires, and efficiency is achieved through differentiation rather than standardization.

For this introductory phase of your design-research, you will generate, manipulate, and fabricate a series of field conditions in the form of 12” x 12” x ?” tiles. These tiles could be thought of as controlling air, light, sound, or water—how can these flows be slowed, stopped, split, reflected, collected, refracted, deflected, permitted, augmented, absorbed, or accelerated? How do form, material, and texture play into these performances? Rather than working towards a predetermined aesthetic result for these tiles, you are asked to take a bottom-up approach, exploring overlaps between tools, materials, and fabrication processes to create a series of emergent field conditions.

The process and product of each tile should be thoroughly documented using sketches, screen captures, and photographs.

OBJECTIVESExploring the affordances and limitations of tools, materials, and fabrication processes, and playing them off one anotherUnderstanding the difference between drawing or modeling for visualization vs. fabricationLearning MasterCAM software, and understanding it as a critical threshold of the digital design/build workflowLearning to safely and strategically operate the CNC router

PROCESSOn Tuesday, 10.04: We will introduce the project, and begin to establish materials and and teams. For Thursday:

• Read Allen, “Field Conditions” • Read Andersom and Saloman, “Symmetrical + Mechanical Patterns” from The Architecture of Patterns• Read McCullough, Abstracting Craft• Locate potential material sources, with available sizes, quantities, and prices—come to class ready to place an order

On Thursday, 10.06: We will discuss the readings, finalize project teams/materials, and run a RhinoCAM/CNC router workshop.For Tuesday:

• Read Kolarevic, “The (Risky) Craft of Digital Making” from Manufacturing Material Effects • Optionally read Reiser + Umemoto, Atlas of Novel Tectonics• Use Grasshopper to generate a minimum of four field conditions: one using only points, one using lines, one using polygons, and one using surface(s). Each field should measure 12” x 24” in plan (or 2 square feet), and a maximum of 1”in depth. Bake two versions of each of these field conditions into Rhino to demonstrate how Grasshopper can control the field. Post the results to the blog. • Secure materials, and get them to the CNC router materials cage outside of the CAED support shop

On Tuesday, 10.11: We will discuss your toolpaths and project goals, and begin milling.For Thursday:

• Create RhinoCAM toolpaths for Drill (point), Contour (line), Pocket (polygon), and Surface (surface)• Refine and mill two of your fields• Blog post: Rhino geometry, toolpath screenshot, panel photos

On Thursday, 10.13: We will discuss your panels and other field drawings.For Tuesday:

• Refine and mill two more fields• Blog post: Rhino geometry, toolpath screenshot, panel photos

On Tuesday, 10.18: We will discuss your panels in preparation for Thursday’s project deadline. For Thursday, 10.20: All Project 2 work due, posted to blog

• Six total milled fields (iterate two of your previously milled fields)• Illustrator plan drawing of fabrication geometry for each field