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ALGORITHMIC SKETCHBOOK

studio air

Amy tremewen2014

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a.1. design futuring

Practise lofting between curves using both Rhino and Grasshopper

Whilst lofting is a relatively fundamental yet simple process within Rhino, the algorithmic approach in Grasshopper forced users to consider this task in a new light. To a certain extent, Grasshopper removed the visual connections that Rhino offers, and whilst the operations were essentially the same, working separately to the Rhino interface was offputting. However, Grasshopper’s ability to retain information about curves and control points quickly allowed more detailed curves and therefore lofts. This is evident in Image 5, where much tighter curves were created without missing gaps or particularly large amounts of time invested. It was also easy to slightly alter the shape without repeating the process.

Lofts could also then be input into other surface geometry algorithms, as seen in image 8. This Delauney input dramatically altered the loft shape quickly, in ways the designer may not have previously considered. However, these algorithms are pre-set, and may be limiting designers to ‘stock-standard’ designs.

IMAGES:

One: Loft between two open curvesTwo: Addition and alteration of control pointsThree: More addition and alteration of control pointsFour: Loft options: tight, rebuild from 10 to 20Five: Three new curves and loft Six: Loft with straight sectionsSeven: Loft of two closed circles Eight: Input to Delauney Method

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a.2. computational design

Using a pre-determined data set, create a set of points, then curves, then a surface, and reverse the process

Again using seemingly basic Rhino/Grasshopper functions of lofting and creating curves, this exercise highlighted how information can be broken down and rebuilt (or vice versa), important for constructing in real-life scenarios with important criteria to meet.

Data was able to be not only portrayed, but scewed, for example, by the degree and precision of the curve. The information can also be complicated, whilst still remaining its original features.

This data was also able to be put into pre-set surface algorithms such as Delauney and Voronoi. However, it was in this process that the essense of the initial data input was lost. Being able to form the surfaces whilst maintaining curves requires further exploration.

IMAGES:

One: A lower curve created from a data set (Degree 1), the top curve at Degree 7 to create an aggregated shape.Two: Top curve altered to Degree 3Three: Boolean True on both curvesFour: Loft options: Contour in even sectionsFive: Contours created evenly on surface Six: Points regained evenly along curvesSeven: Input to Voronoi Method Eight: Input to Delauney Method

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a.3. Composition/generation

Create your own definition (pattern) that makes sense of connected lines/polylines on a surface

Using arcs between points to connect curves represents one of the most fundamental methods of creating patterns along surfaces, either in diagonal lines or more extravagent arcs. This method is also not restricted like many of the included algorithms may be on design.

However, these patterns may also reflect the line drawn between computation and generation, and the composition or realisation of an object. Whilst these arcs are largely constructable, even through the use of smaller curved sections, the more complicated patterns may challenge construction methods. Equally, construction may be possible, however so painstakingly slow it becomes no longer a worthwhile process.

IMAGES:

One: Arcs lofted between three basic elipsesTwo: Arcs lofted between three basic elipsesThree: Curve control points offset to create a pattern and warped shapeFour: A second layer of arcs to create a patternFive: When things go wrong - misaligned curve control points

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a.3. Composition/generation

Model the LAGI site and use the techniques from this week’s videos to create an architectural or sculptural form.

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part bcriteria design

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part bcriteria design

ALGORITHMIC TASKS FROM WEEK 4 ONWARDS HAVE BEEN BASED ON GENERATING A DESIGN FOR THE LAGI COMPETITION. THEREFORE,

NOT ALL VIDEOS HAVE BEEN EXPLORED AND INCLUDED IN THE ALGORITHMIC SKETCHBOOK

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WEEK 4

Creating planes from curve points - potential for a pavillion-style sculpture? No real surface area to gather/direct rain water for hydroelectricity

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Testing circles on a surface - potential to puncture the surface and channel/hold water? Funnel-like action?

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WEEK 5

Using graph mapper and points along curves to create funnel-like shapes - potential to hold/transport water, move in wind, etc

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Testing Voronoi patterns - suitable for biomimicry

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Image sampling on a surface - small punctuations a good way to deal with the surface in a sculptural manner without disturbing the site too much? Allows water to punctuate then be diverted, etc

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attempt no.1 - image sampling

INPUT BASIC BUILDING GEOMETRY INTO RHINO

DIVIDE SURFACES

AND ASSIGN CIRCLE

IMAGE SAMPLER ONTO

SURFACE

DO THE SAME FOR INTERIOR

WALL

LOFT

recreating the Airspace tokyo

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Given that this project is based in biomimicry, and is also inspired by dense foliage that once defined the site, it seemed logical that there was some imagery that inspired the facade design. As this design also required texture, image sampling seemed to be a good place to start. In order to test this theory, we simply screenshot and edited an image of the building’s facade, however this could easily be replaced with any cellular/biomimicry inspired image.

After initial difficulty to get the image to reflect on the surface, there was some change in the texture of the surface, however this was minimal at best, even with a scaling up and down of circle geometry radii. It was possible that the selected screenshot had too many fine elements within it, that the surface geometry was not able to replicate. This did not change with altering the amount of points, expressions, radii, etc.

Nonetheless, a design was reflected that vaguely resembled the existing facade, and

therefore we attempted to create a more 3D surface out of the circle. Cull Pattern was used multiple times in an attempt to remove smaller, unnecessary circles (which would create cell hollows and leave connective elements), however due to a lack of knowledge/experience this was unable to be employed successfully. This was in turn intended to be used in conjunction with the loft tool, to create a more 3D surface. Again, due to a lack of experience/knowledge, the loft tool continued to operate in the straight grid lines and used all circle geometry, not that that had been left after Cull Pattern was used. Whilst this create thicker and thinner sections that somewhat represented the facade design, this method completely lacked the web-like structure or continuity of the design, and thus was abandoned and left for later experimentation.

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attempt no.2 - voronoi patterns

When first assessing the Tokyo Airspace facade design, it was easy to draw a connection between the cellular pattern and a Voronoi pattern. However, in our experience of the Voronoi component, it

would not produce distored circular shapes at such close proximity.It was also known that the facade was constructed from a number of layered panels, however this

still did not resolve the design.

It took a period of experimentation with offsetting, grafting and filleting curves in order to not only generate the curves, but create the surface between curves.

The resolved design is included in the Journal.

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When first assessing the Tokyo Airspace facade design, it was easy to draw a connection between the cellular pattern and a Voronoi pattern. However, in our experience of the Voronoi component, it

would not produce distored circular shapes at such close proximity.It was also known that the facade was constructed from a number of layered panels, however this

still did not resolve the design.

It took a period of experimentation with offsetting, grafting and filleting curves in order to not only generate the curves, but create the surface between curves.

The resolved design is included in the Journal.

IMAGES (FROM L-R)1. Using three layers of random points to create Voronoi patterns, random radii values 2. Increased number of points, radii of 10

3. Smaller radii values on all4. Using points in a metaball pattern - could be combined in some way with a Voronoi to reflect the facade?5 & 6. Using pipes on

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WEEK 6

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Attempts at AA Driftwood - could not get frames to work due to missing components, however results produced some interesting surface textures (see bottom)

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Travelling Salesman Clusters - another approach to Voronoi?

More experimentation with AA Driftwood - still unsuccessful, however offsetting curves creating interesting re-sults, could have potential in a surface treatment or recreating water-like patterns

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NON-TEACHING PERIOD WEEK 2 SKETCHBOOK ACTIVITIES COULD NOT BE COMPLETED DUE TO AN INABILITY TO ACCESS THE ADD-ON COMPO-NENTS REQUIRED - ATTEMPTS TO RECREATE THE DESIGNS WITHOUT FAILED.

SEE JOURNAL FOR MORE GH/RHINO EXPLORATION