UNSW | Built Environment | Computational Design Program ... · UNSW | Built Environment | Computational Design Program YEAR 1 | SEMESTER 1 | 2015 Table of Contents 1. Course Description

UNSW | Built Environment | Computational Design Program

YEAR 1 | SEMESTER 1 | 2015

Enabling Skills in Digital Fabrication

CODE1150

1. Scan this QR code to be taken to the course UNSW Handbook site:

2. © M. Haeusler Hank

Lectures: 9am – 10am, Tuesdays, Electrical Engineering G25 Tutorials: 10am – 1pm, Tuesdays, Electrical Engineering 219 / 220 / 221 and Old Main Building 144a



Table of Contents 1. Course Description 3

2. Course Staff and Contributors 3

3. Course Communication 4

4. Course Websites 4

5. Lectures 5

6. Design Project 9

7. Online teaching strategy and content 11

8. Assessment 12

9. Assessment criteria and standards 17

10. Course assessment feedback strategy 26

11. Resources 26

12. Class requirements 30

13. Expectations 31

14. Learning experience and teaching strategies 32

15. OH&S and workshop training 32

16. Course aims 33

17. Learning outcomes 33

18. Parity Session 33

19. Course Graduate Attribute 35

20. Built Environment and UNSW Academic Policies 35

CODE1150 | Enabling Skills in Digital Fabrication

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1. Course Description This course is part of the practice orientated teaching trajectory ‘Constructing’, Path 5: Digital Fabrication and Construction.

Students are introduced to developments in digital fabrications through lecture and Grasshopper scripting. Students will produce small artefacts via digital fabrication 3D printers and Laser Cutters. In this course students will produce innovative geometries that will shape the form, space and detail of architectural environments. To achieve this they will engage with cutting edge and developing digital modelling applications, techniques and cultures. The course will aim to develop your skills in using digital technology to experiment and generate creative architectonic geometries.

A weekly lecture will develop themes relating to the culture and application of complex geometries within the digital context, and propose conceptual challenges that drive the edges of our current understanding. Within the context of this course, modelling applications will be used as a medium for testing and manipulating digital forms. We will review the nature and scope of modelling concepts in a more general context, looking at its history, evolution, applications and potentiality as a design tool.

Theoretical knowledge will be presented under some broad concepts: Topological Architectures, Influenced Architectures, Dynamics and Motion, Generative Forms, Parametric Design, Evolving Architectures, Digital Fabrication, Digital Manipulation, Digital Optimization and Performance. You will engage in weekly lab classes to experiment and develop with complex geometries.

Assessment will be based on your progressive performance in the lab class and a number of assessable tasks that will demonstrate the evolution of your explorations.

2. Course Staff and Contributors Course Convenor: Dr. M. Hank Haeusler

Room: 2009

Phone: (02) 93857362

Email : [email protected] (for questions please refer to the consultation times below and do not send emails)

Consultation times:

Please contact Misha [email protected] or phone number above for consultation times at the DD unit admin desk on Level 4.

Other Teaching Staff : Rebekah Araullo

Room: 2002

Phone: TBA

Email : [email protected]

Consultation times:

Directly before or after class, please contact tutor one day in advance per email to make a booking.

Other Teaching Staff : Eliot Rosenberg

Room: 2002

Phone: TBA


Consultation times:

See above

External tutors : Andrew Butler


Consultation times:

See above

External tutors : Ivana Kuzmanovska


Consultation times:

See above



3. Course Communication Most course related announcements are made in the lectures. It is essential that you attend the lectures to receive these announcements. In addition to these formal communication paths, online discussion forums will be available that will allow everyone to post questions and respond to other people’s questions. All students will be expected to participate in the online discussions in Moodle.

Individual student related communication, including the issue of assessment grades and feedback, will be via the Moodle. UNSW Student email will be used to communicate changes that occur with short notice. All students are assigned an e‐mail account on the University's e‐mail server, so that email address will be used as the primary means by which important correspondence is made. You must, therefore, get into the habit of checking your UNSW student email regularly.

Details on setting up your UNSW student email are provided at:

https://www.it.unsw.edu.au/students/index.html

To manage your UNSW account and password, use the IDM site:

https://idm.unsw.edu.au/idm/user/login.jsp

Questions that cannot wait until the next allocated class are best handled by posting a message on the online forums in Moodle. If there are important or urgent matters that require a personal meeting, you are able make an appointment with your course staff. See 3. Course Staff and Contributors for more information on how and when to communicate with course coordinator and tutors.

4. Course Websites Moodle – this is the UNSW wide online teaching platform and has many capabilities. You can access Moodle via: https://moodle.telt.unsw.edu.au/login/index.php

Use https://teaching.unsw.edu.au/moodle-orientation to familiarise yourself with Moodle. Please see section 7.1 Online Teaching for more information.

Note: There is the potential that your lectures will be automatically recorded under the echo 360 platform:

https://teaching.unsw.edu.au/unsw-lecture-recordings-process

All OH&S and workshop training courses are as well located on Moodle. Please follow the Moodle instructions to complete UNSW’s OH&S requirements.


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5. Lectures Week 1 Topic Introduction Digital Fabrication

The lecture will organize the class and outline the different assignment criteria’s (Prototype, Online, Exam), the reading lists as well as organize the OH&S training in Week 1 and 2 outside the class hours. Further the class will introduce first thoughts and background on digital fabrication and Grasshopper scripting.

Readings: http://www.dezeen.com/2012/06/26/technology-and-design-the-digital-industrial-revolution/; http://www.economist.com/node/21553017

Tutorial activities: Enrol in OH&S and Workshop requirements (See Chapter 15), without completing the OH&S class one CANNOT access the Fab Lab and complete any learning stage of Assignment 1.

Week 2 Topic Sectioning Using the book ‘Digital Fabrication: Architectural and Material Techniques’ by Lisa Iwamoto the lecture will introduce the first chapter of outlining a design technique, sectioning, through introducing its background, what types of sectioning exists, how sectioning could be achieved using various software packages and presents projects that have used sectioning.

Readings: Iwamoto, L. (2009) ‘Digital Fabrication: Architectural and Material Techniques’ Chapter on ‘Sectioning’

Tutorial activities: All OH&S and workshop requirements outlined on Moodle must have been completed by now and students must enlist themselves to a demonstration of machine by instructor session (see Chapter 15).

Week 3 Topic Laser Cutting Using the second main book to support the course ‘Digital Fabrication in Architecture’ by Nick Dunn this weeks lecture will outline and introduce laser cutting as production method for digital fabrication. It will discuss the historic background and will outline the constraints of the machines and outline use in other disciplines.

Readings: Dunn, N. (2012) ‘Digital Fabrication in Architecture’, Chapter on ‘Laser Cutting’.

Tutorial activities: Students can complete the second stage of the OH&S introduction (Demonstrating capability under supervision) with the Learning Stage 1 project. Keep in mind that laser cutting takes time and do not leave it to the last minute. Hand in of Learning Stage 1 via uploading images as outlined in the assessment section onto Moodle.

Week 4 Topic Tessellating Following the first lecture using ‘Digital Fabrication: Architectural and Material Techniques’ this weeks lecture will discuss and outline a design technique often used in Digital fabrication called ‘tessellation’. Tessellation has been used in several cases historically and the lecture discusses these as well as concepts of packaging and clustering done via scripts.

Readings: Iwamoto, L. (2009) ‘Digital Fabrication: Architectural and Material Techniques’ Chapter on ‘Tessellation’.

Tutorial activities: Non



Week 5 Topic 3D Printing 3D printing is a technique that has gained enormous prominence in recent years and the lecture outlines and discussed the historical and technical nature of 3D printing; various materials and techniques used to 3D print, future directions and position these through a series of case studies and best practice examples.

Readings: Dunn, N. (2012) ‘Digital Fabrication in Architecture’, Chapter on ‘3D printing’. Carpo, Mario (2013) The Digital Turn in Architecture 1992 – 2012, Wiley & Sons publishers. Following three essays. Introduction to Versioning: Evolutionary Techniques in Architecture by SHoP / Sharples, Holden and Pasquarelli, pp. 132. Bernard Cache / Objectile: Topological Architecture and the Ambiguous Sign by Stephen Perrella, pp. 149 Philibert De l’Orme Pavilion: Towards an Associative Architecture by Bernard Cache, pp. 153.

Tutorial activities: Upload images of your Learning Stage 2 project on to Moodle. Deadline for the upload is Week 6 day of normal class 5pm. We want to use the non-teaching period for a more intensive reading on the subject by reading the three above-mentioned essays.

Mid Semester Break

Week 6 BE Non teaching Week

Week 7 Topic Conceptual backgrounds of digital fabrication Based on the three essays you have read over the semester break this week’s lecture will give further insides and outlines the relevance of the three essays to the topic of this course. The theoretical context provided in the lecture will position and evaluate recent works by contemporary architecture firms.

Readings: Reread the three essays again and re-think the concepts based on the discussion in class today.


Week 8 Topic Folding Todays lecture covers the aspect of ‘folding’ in Iwamoto’s book. The lecture introduces the concept as one relevant design concept at the end of the last century; outline how it can be achieved through the use of Grasshopper scripts and digital fabrication and present case studies and best practice examples.

Readings: Iwamoto, L. (2009) ‘Digital Fabrication: Architectural and Material Techniques’ Chapter on ‘Folding’.



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Week 9 Topic Contouring Contouring is a design and fabrication method what allows mass production of objects. Based on texts and findings in Iwamoto’s book, the lecture presents the technique and outlines the technical and conceptual demands of the method and introduces case studies and best practice examples from international practices.

Readings: Iwamoto, L. (2009) ‘Digital Fabrication: Architectural and Material Techniques’ Chapter on ‘Contouring’.


Week 10 Topic CNC mill ing CNC mills have been in use in the manufacturing industry for several years and there are CNC mills ranging from 3-axis to 7-axis. The lecture will gives a comprehensive overview of CNC mills in terms of hardware and software, gives a synopsis of machines to come and show projects that used CNC milling.

Readings: Dunn, N. (2012) ‘Digital Fabrication in Architecture’, Chapter on ‘CNC milling.


Week 11 Topic Forming Forming is the last technique outlined in the lecture series about digital fabrication. Following the method from previous classes the lecture will introduce the technique and explain how scripting could play an essential role in it. Showing best practice examples of projects that used forming as a technique concludes this series.

Readings: Iwamoto, L. (2009) ‘Digital Fabrication: Architectural and Material Techniques’ Chapter on ‘Forming’.


Week 12 Topic Robotics Robotics concludes the series as a tool that exists for several decades in the manufacturing industry but gained large prominence in architecture in recent years. The lecture showcases what robot fabrication is; explains its history; showcases best practice examples in architecture and gives an outlook what direction the technology could go.

Readings: Dunn, N. (2012) ‘Digital Fabrication in Architecture’, Chapter on ‘Robotic Fabrication.

Tutorial activities: Please complete the CATEI feedback evaluations in your tutorial class. Upload images of your Learning Stage 3 project on to Moodle. Deadline for the upload is Week 12 day of normal class 5pm.



Week 13 Topic Guest Lecture The last lecture of the semester invites an industry or academic speaker who presents their research and work using scripting and digital fabrication on a building scale to showcase how the techniques learned during the semester are applied in projects, installations or buildings. This is followed by a debate with the presenter.

Readings: Non


Week 15 PARITY SESSION of all courses in the semester Presentation of all work of all courses [THIS IS ONLY COMPULSORY FOR CODE STUDENTS] showing work from (ARCH1101 / CODE1110 / CODE1150 / CODE1161) via a selection of the five best images presented one poster for each course on Monday in Week 15 with deadlines below. See Chapter 18. Parity Session for detailed information.

Online Learning: N/A

Tutorial activities: Parity session set up for students from 10 – 2pm; Parity session for tutors between 2 – 6pm; Take down of work and drinks to celebrate semester 6 – 8 pm.


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6. Design Project

Image Learning stage 1 Modelling the first letter of your first name

Project 1: Modelling first letter of your name initial (10% out of 70% total) In order to learn Grasshopper scripting and to understand the program we will start very slowly. Thus as the first learning stage we ask you to model the first letter of your name using Grasshopper so at the end you have a 3D model of your letter. The model will be fabricated using laser cutting and a 3 mm plywood panel. Please pay specific attention on that the panels meet nicely (calculate the 3mm material thickness into all dimensions). As all things in architecture and design we also introduce a few constraints. The letter should (when laying on its back should touch the boundaries of an area with the dimensions of (x) 204 * (y) 226 mm. Thus it should not be bigger and not smaller than that. Obviously it depends on the letter of how much the boundaries are touched. The minimum height (z dimension) is 20mm the maximum 70mm; anything in between these dimensions is possible.

Image Learning stage 2 Modelling Waffling exercise and output via laser cutter as sectioning

Project 2: Waffling exercise (15% out of 70% total) Students learn about waffle structures and how they are designed with parametric 3D modelling software and produced with subtractive digital fabrication tools (laser-cutting). This will have a focus on planes and intersection events needed to create the necessary volume and structural performance. In this exercise students will explore the application of planar materials used to create non-planar, three-dimensional forms. The design should (when laying on its back) touch the boundaries of an area with the dimensions of (x) 204 * (y) 226 mm. Thus it should not be bigger and not smaller than that. Obviously it depends on the design of how much the boundaries are touched. The minimum height (z dimension) is 20mm the maximum 70mm; anything in between these dimensions is possible.



Image Learning stage 3 Modelling dependencies and attractors and output via 3D printing

Project 3: Dependencies and Attractors (15% out of 70% total) Students will learn how dependencies work within parametric design and how complex differentiations are generated. Students will also learn additive digital fabrication methods (3D printing) for producing their designs. The design should (when laying on its back should touch the boundaries of an area with the dimensions of (x) 408 [check] * (y) 226 mm. Thus it should not be bigger and not smaller than that. Obviously it depends on the design of how much the boundaries are touched. The minimum height (z dimension) is 20mm the maximum 70mm; anything in between these dimensions is possible.

Image Learning stage 4 Digital elements 2 / Windows © TU Delft / Hyperbody

Project 4: Joining and panelling systems (30% out of 70% total) The 2014 Venice Biennale had at its theme ‘Fundamentals’ and showcased in the main exhibition ‘elements’ of architecture. One of the elements presented there was the ‘Window’. We want to use the window in its contemporary form as a glass curtain façade connected with ‘spider finger’ joints. Items to investigate are but not limited: • Various forms of ‘spider finger’ joints • How does the ‘spider finger’ joint

connect to the window • Does the glass connect as well or is

there a gap in between. • What are the design aesthetics of a

‘spider finger’ joints. The ‘spider finger’ joints can be connect to either: • Four windows at the same time

(minimum requirement) • Five windows at the same time

(medium requirement) • Six windows at the same time

(maximum requirement)

Naturally as more panels it connects to as more curved the façade will be later. There are a few design considerations to be made in how your ‘spider finger’ joint will look like and the design of the ‘spider finger’ joint is part of the learning stage.


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7. Online teaching strategy and content

Other then the teaching and learning aspect of digital fabrication, which is communicated through the lecture series the course aims to communicate two new software packages to designing and documenting. These are Grasshopper as a object based scripting language and Rhino as a NURB based modelling software. Where as traditionally software was and still is taught in most universities in a classroom environment CoDe applies a flipped classroom strategy to communicate software skills. We believe that 1:1 tutorial time is to precious to use on outlining simple commands one can learn remotely. We emphasis an importance of getting feedback in the classroom on design specific issues and very specific software issues but not a general overview. Thus the online component of this class consists of the following two learning steps: Learning Step 1:

The one-hour online teaching component concentrates primarily on following the online courses for Grasshopper and Rhino offered by IDDA (Institute for Digital Design Australia). In these two courses students have the possibilities to follow the step-by-step online video tutorials and consequently learn the software. Both courses are structured in smaller segments in which students can gain skills. At the end of each learning level the online teaching provider IDDA has offered an exam to assess your skills in the respective software. These exams are compulsory to pass at the defined time (See Assignment 2) to gain the 20% weighting of Assignment 2. Further information about Assignment 2 can be found in Chapter % Assignments.

Learning Step 2:

There are and will be always issues or points where one get either confused when learning new skill or will hit at some stage a barrier. Where as traditionally this barrier could have been overcome by forming study groups amongst students situated at the same space at the same time, online platforms can take now this role and liberate students from travelling for long distances to meet in study groups. Thus each student has access to an online platform in which issues and problems with either of the software can be discussed. Moodle will provide a platform for students to upload questions on the one hand as well as a platform to answer questions from other students. The participation in these platforms are part of Assignment 2 as well and the activity from each student on a discussion and debate becomes part of the mark in Assignment 2.

Thus learning of new software skills has following three steps:

• First learning through online video tutorials

• Second asking and debating questions between students via Moodle

• Asking specific and primarily design related questions in the tutorials in class.

Through following and participating of all three steps online teaching and a flipped classroom model can contribute significantly to your learning at CoDe.



8. Assessment

Assessment task Weight Learning outcomes assessed

Graduate attributes assessed

Due date

1. Assignment (Prototypes) 70% 1,2,3,4 H W 3 / 6 / 9 / 15

2. Assignment (Online) 20% 1,2,3,4 H / A / D / I W 2 / 3 / 4 / 5

3. Assignment (Exam / Online Quiz)

10% 2 D / I W 15

4. “Best of Semester” Parity and Moodle Submission

*) 1,2,3,4 H / A / D / I W 15

*) No weight but overall mark will be reduced by 10% if not handed in on time

Assignment 1 (Prototypes) TOTAL 70% The Assignment one asks students to visualise their Grasshopper scripts through different modes of representation. The modes of representation are defined through different digital fabrication methods (laser cutting and 3D printing) by using different materials (PLA, plywood, cardboard and acrylic). The transformation of script to physical model is tested in four learning stages.

Name: Learning stage 1 Modelling the first letter of your first name (Hand in Week 3) 15%

Description: See 6. Design Project for details Below are the hand-in requirements for the Design project in Learning Stage 1. IMAGES: As you should have learned by now in parametric modelling there is not just one design outcome, but a potential endless number or variations depending on the number of parameters (i.e. the ‘x’, ‘y’ and ‘z’ coordinates of a box) and the range of each parameter (i.e. ‘x’ can range from 0.1 cm to 10cm and all in between). Thus we want you to showcase FIVE images in total, FOUR with different parameter values, showing the extremes of your design (i.e. having all parameters to the maximum or to the minimum. The FIFTH is the one you have chosen and this one will be built and physically represented in a model. All images should be curated and represented as an outcome that had some design consideration. Show them from their best angle and pay attention to how you represent them by applying skills you have gained in CODE1161 for example. Upload these images to Moodle as outlined in 18. Parity session. TEXT: Outline in 100 words why you have chosen that particular model and not one of the thousand other possible. Be specific and consider reasons,


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this is quite important as you will argue for your choices in design over and over again in the years to come and your lecturers will always keep asking you why this design and not another. One important thing to notice here. Saying, “I like it” or “I thought it looks good” does not work as I will turn around and answer, “I do not like it” or “I think it does not look good”. Think about other more rational reasons. Upload these images to Moodle as outlined in 18. Parity session. MODEL: You will use 3mm plywood as the model material and laser cutting as digital fabrication tool. The model will take part of the Week 15 exhibition and needs to be handed in physically in week 15. Still we want to see photos of the physical model in Week 3, thus upload FIVE images to Moodle. Here as well the presentation of the model as a physical object and the way it is presented matters. Use a plain white or black background for the model. Use your desk lamp to illuminate the object. Feel free to apply filters like the ones in Instagram or similar to improve the look and feel of the model images.

Name: Learning stage 2 Waffling exercise and output as sectioning via laser cutters (Hand in Week 6) 15%

Description: See 6. Design Project for details Below are the hand-in requirements for the Design project in Learning Stage 2. IMAGES: As before we want you to showcase FIVE images in total, FOUR with different parameter values, showing the extremes of your design (i.e. having all parameters to the maximum or to the minimum. The FIFTH is the one you have chosen and this one will be built and physically represented in a model. All images should be curated and represented as an outcome that had some design consideration. Show them from their best angle and pay attention to how you represent them by applying skills you have gained in CODE1161 for example. Upload these images to Moodle as outlined in 18. Parity session. TEXT: Outline in 100 words why you have chosen that particular model and not one of the thousand other possible. Again be specific and consider reasons, this is quite important for the reasons mentioned before. Upload this text to Moodle. MODEL: You will use 3mm clear acrylic as the model material and laser cutting as digital fabrication tool. The model will take part of the Week 15 exhibition and needs to be handed in physically in week 15. Still we want to see photos of the physical model in Week 6, thus upload FIVE images to Moodle. Here, as before, the presentation of the model as a physical object and the way it is presented matters. Use a plain white or black background for the model. See what works best with the material in regards to light and background. Feel free to apply filters like the ones in Instagram or similar to improve the look and feel of the model images.



Name: Learning stage 3 Dependencies and attractors and output via 3D printing (Hand in Week 9) 15%

Description: See 6. Design Project for details Below are the hand-in requirements for the Design project in Learning Stage 3. IMAGES: Again we want you to showcase FIVE images in total, FOUR with different parameter values, showing the extremes of your design (i.e. having all parameters to the maximum or to the minimum. The FIFTH is the one you have chosen and this one will be built and physically represented in a model. All images should be curated and represented as an outcome that had some design consideration. Show them from their best angle and pay attention to how you represent them by applying skills you have gained in CODE1161 for example. Upload these images to Moodle as outlined in 18. Parity session. TEXT: Outline in 100 words why you have chosen that particular model and not one of the thousand other possible. Again be specific and consider reasons, this is quite important for the reasons mentioned before. Upload this text to Moodle. MODEL: You will use white PLA (and only white) as the model material and 3D printing as digital fabrication tool. The model will take part of the Week 15 exhibition and needs to be handed in physically in week 15. Still we want to see photos of the physical model in Week 9, thus upload FIVE images to Moodle. Here, as before, the presentation of the model as a physical object and the way it is presented matters. Use a plain white or black background for the model. See what works best with the material in regards to light and background. Feel free to apply filters like the ones in Instagram or similar to improve the look and feel of the model images.

Name: Learning stage 4 Joining and panelling systems (Hand in Week 15) 25%

Description: IMAGES: Again we want you to showcase FIVE images in total. But this time we want you to show not only a single joint like in the model but a whole façade system that covers 10 * 10 meters. The façade is not attached to any building but ‘free’ standing so don’t worry about the building. The façade is not a flat 2D plane but is curved in two directions. Obviously there is an ‘inside’ and an outside’ of the façade and traditionally the spider finger joints are located on the inside of a façade system. Upload these images to Moodle as outlined in 18. Parity session. The images in detail should represent: • Overall view of the façade from the outside from a suitable location

(like standing a few meters away from the façade so one can see the whole façade)


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• Overall view of the façade from the inside from a suitable location (like standing a few meters away from the façade so one can see the whole façade)

• Three different detail views of your ‘spider finger’ joints that connect your windows together.

All images should be curated and represented as an outcome that had some design consideration. Show them from their best angle and pay attention to how you represent them by applying skills you have gained in CODE1161 for example. MODEL: The design should (when laying on its back should touch the boundaries of an area with the dimensions of (x) 408 [check] * (y) 226 mm. The minimum height (z dimension) is 20mm the maximum 150mm; anything in between these dimensions is possible. The model should be in 1:1 scale and should showcase at least one ‘spider finger’ joints, as you can ‘cut’ the windows to the above given dimension the boundaries should be touched on all sites. You will use mixed materials for this model thus the materials used prior as 3mm clear acrylic for the windows and white PLA for the one ‘spider finger’ joints. Laser cutting and 3D printing are the digital fabrication tools for this exercise.

Assignment 2 (online) TOTAL 20% The online assignment compromises to learn two software programs, Grasshopper and Rhino. In order to learn these two programs we apply a flipped classroom strategy where the software is learned via online video tutorials and the skills are tested via exams (See 7. Online Teaching). Consequently the assignment in the online section is the completion of the exams provided by IDDA (Institute for Digital Design Australia). The IDDA is an independent organisation that has developed teaching and learning tutorials to learn Rhino and Grasshopper via small video tutorials. Each tutorial has a specific topic that explains in small steps the essentials and background in the project. Both software packages and the knowledge in them are essential for all other classes in the first semester. You are required to model your design in Rhino in ARCH1101, apply Rhino as well in CODE1110 and CODE1160 and in all later semesters to come. Be aware that the Grasshopper skills communicated in the online tutorial complement the ones in the tutorials and visa versa.

Name: Learning Step 1 Rhino 5.0 Essentials (Exam to be completed and result uploaded by Week 2) 5%

Description: The assignment is defined by IDDA (http://idda.com.au/thecourses/) and the exam needs to be completed and the result (the received exam) uploaded to the course website no later then 7 pm at the day PIOR to the course teaching day. The course website will close at 7 pm and any late hand in will result in a Zero for the Learning Step. A hand in of the passed exam right on time will result in a One. At the end the number of all passed exams with Zero’s or One’s will result in a mark that will count in total for 20%.

Name: Learning Step 2 Grasshopper Essentials (Exam to be completed and result uploaded by Week 3) 5%

Description: The assignment is defined by IDDA (http://idda.com.au/thecourses/) and



the exam needs to be completed and the result (the received exam) uploaded to the course website no later then 7 pm at the day PIOR to the course teaching day. See above for further information.

Name: Learning Step 3 Rhino 5.0 Designer (Exam to be completed and result uploaded by Week 4) 5%

Description: The assignment is defined by IDDA (http://idda.com.au/thecourses/) and the exam needs to be completed and the result (the received exam) uploaded to the course website no later then 7 pm at the day PIOR to the course teaching day. See above for further information.

Name: Learning Step 4 Grasshopper Designer (Exam to be completed and result uploaded by Week 5) 5%

Description: The assignment is defined by IDDA (http://idda.com.au/thecourses/) and the exam needs to be completed and the result (the received exam) uploaded to the course website no later then 7 pm at the day PIOR to the course teaching day. See above for further information.

Assignment 3 (Exam / Online Quiz)

Name: Lecture Quiz

Description: 8 questions will be developed from each weekly lecture series i.e 96 questions in total – students will have until week 15 to complete the quiz.

Assignment 4

Name: Parity / Moodle submission

Description: For Moodle Submission: Please refer to 18. Parity Session for information about what to hand in and 4. Course Website for how to upload.

For Parity Submission: Please refer to 18. Parity Session for information on what to present and to 5. Lecture when to present in Week 15.


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9. Assessment criteria and standards Assignment 1 / Learning Stage 1: Submission Assessment Marking Sheet (15% or total mark)

CODE1150 Enabling Skil ls in Digital Fabrication

Project 1 : Modell ing the first letter of your f irst name

STUDENT NAME:

STUDENT #:

# Assessment Criteria: % US S G VG O / 100

1 Able to use Grasshopper and Rhino regarding to demands of Learning Stage 1

2 Can produce a designed outcome that reflects aspects of joining surfaces in a virtual and physical model.

3 Can present the outcomes of the design via photographs and / or renderings to communicate design intends.

4 Critical discussion on selection in text.

5 Deliver a physical model from a quality that reflects the student’s ambition to work in a design discipline after graduating.

6 Sophisticated and independent adaption of programs

7 Quality and effectiveness of visual presentation

8 Relevance and effectiveness of verbal presentation

9 Evaluates improvement of work using course concepts

OVERALL MARK out of 100

FEEDBACK:



Assignment 1 / Learning Stage 1 : Assessment Criteria

Unsatisfactory Fail 0-49

• Research statement has no coherence, misses the point. • Poor quality and Inappropriate selection of hand in materials • No coherence and poor quality of hand in detailing • No coherence and poor quality of hand in compositions • Inappropriate methods of applying software and machines • Unsophisticated use of programs • Poor quality and inappropriate presentation of model and images • Irrelevant and or inappropriate presentation of skills • Unable to evaluate work using course concepts

Satisfactory Pass 50-64

• Research statement lists points without making connections. • Low quality and ineffective selection of hand in materials • Lacks coherence and Quality of hand in detailing • Lacks coherence and quality of hand in compositions • Ineffective methods of applying software and machines • Minimal adaption of required programs to sophisticated level. • Low quality and minimally effective presentation of model and images. • Low quality and minimally presentation of skills. • Minimal evaluation of work using course concepts.

Good Credit 65-74

• Research statement makes connections between points but does not create an overall scope or argument of the nature data set.

• Somewhat appropriate and substantiated hand in benchmarking • Somewhat coherent and quality of hand in detailing • Somewhat coherence and quality of hand in compositions • Somewhat effective methods of applying software and machines • Somewhat sophisticated and independent adaption of programs • Good quality and somewhat effective presentation of model and images • Somewhat relevant and or partially effective presentation of skills • Good evaluation of improvement to work using course concepts

Very Good Distinction

75-84

• Synthesises points into concise and thorough research statement • Appropriate and substantiated hand in benchmarking • Coherent and high quality hand in detailing • Coherent and high quality hand in compositions • Adaptation of effective methods of applying software and machines • Sophisticated and independent adaption of programs • Quality and effective presentation of model and images • Relevant and effective presentation of skills • Evaluates improvement of work using course concepts

Outstanding High Distinction

85-100

• Highly coherent. Synthesises points into concise and thorough research statement. Beyond expectation.

• Highly appropriate and substantiated hand in benchmarking • Highly coherent and highest standard of hand in detailing • Highly coherent and highest standard of hand in compositions • Highly effective methods of applying software and machines • Highly sophisticated and independent adaption of programs • Highest quality and highly effective presentation of models and images • Highly relevance and effective presentation of skills • Rigorously evaluates improvement of work using course concepts


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Assignment 1 / Learning Stage 2 Submission Assessment Marking Sheet (15% or total mark)


Project 2: Waffl ing exercise and output as sectioning via laser cutters

STUDENT NAME :

STUDENT #:



2 Apply knowledge gained in lectures to develop a design idea.

3 Delivers and discusses case studies with tutors in class to produce better outcomes.








FEEDBACK:



Assignment 1 / Learning Stage 2: Assessment Criteria





Good Credit 65-74




75-84



85-100




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Project 3: Dependencies and attractors and output via 3D printing

STUDENT NAME :

STUDENT #:












FEEDBACK:








Good Credit 65-74




75-84



85-100




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Project 4: Joining and panell ing systems

STUDENT NAME :

STUDENT #:





4 Critical discussion on selection in text and research of joint and panelling system.







FEEDBACK:








Good Credit 65-74




75-84



85-100




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Assignment 2 (online) TOTAL 20% The Assignment 2 asks students to learn the two main programs used in the class (Grasshopper and Rhino) in a flipped classroom environment. The exact learning steps are descripted and outlined by the provider IDDA.

Name: Learning Step 1 Rhino 5.0 Essentials (Exam to be completed and result uploaded by Week 2) 5%

Course assessment criteria and standards

Passing the Learning step provided by IDDA at deadline, IDDA will close test at deadline and send list of completed Learning steps for assessment.

Name: Learning Step 2 Grasshopper Essentials (Exam to be completed and result uploaded by Week 3) 5%



Name: Learning Step 3 Rhino 5.0 Designer (Exam to be completed and result uploaded by Week 4) 5%



Name: Learning Step 4 Grasshopper Designer (Exam to be completed and result uploaded by Week 5) 5%



Assignment 3 (Online Quiz / Exam) TOTAL 10%

Name: Online Quiz (opens up in Week 13 and closes Week 15) 10%


Answering more than 80% of the questions in the online exam correctly.

Assignment 4

Name: Parity / Moodle submission

Description: For Moodle Submission: Please refer to 18. Parity Session for information about what to hand in and 4. Course Website for how to upload.

For Parity Submission: Please refer to 18. Parity Session for information on what to present and to 5. Lecture when to present in Week 15.



10. Course assessment feedback strategy

Students will gain information about their process in class via 3 basic levels.

Firstly, The goals of the class are clearly defined in the course outline and discussed at the beginning of each Assignment and the learning steps within the assignment in the weekly lecture. Here students will understand how their performance relates to the broad goals of the course.

Secondly, students will get feedback in each class (during the three tutorial hours) upon their performance. Tutors will help students in one-to-one sessions to discuss and analyse how successful they have been at addressing the task and its criteria of each assignment and the learning steps within the assignment.

Thirdly, students will get feedback in each class (during the three tutorial hours) in how their response to the assignment and the learning steps within the assignment could be improved. Tutors will help students in one-to-one sessions to discuss and analyse how improvements could be made and which resources students could consult for an improvement.

11. Resources 11.1 Readings, textbooks and UNSW Library resources Essential readings

Following books and texts are part of this class and were used for developing the lectures and are their content is part of questions asked in the exam in Week 15. Items to be purchased by students are marked with an (*), items that are at the UNSW library are marked with an (~) and online items are marked with an (^)

* Dunn, Nick (2012): ‘Digital Fabrication in Architecture’, Laurence King Publishers. Available on Amazon on: http://www.amazon.com/Digital-Fabrication-Architecture-Nick-Dunn/dp/B00FAT4YS0/ref=pd_sim_b_5?ie=UTF8&refRID=001575VSG3RBJDS5HRR0; (Accessed: October 2014).

* Iwamoto, Lisa (2009): ‘Digital Fabrication: Architectural and Material Techniques’; Princeton Architectural Press.

Available on Amazon on: http://www.amazon.com/Digital-Fabrications-Architectural-Techniques-Architecture/dp/1568987900; (Accessed: October 2014).

* Carpo, Mario (2013): ‘The Digital Turn in Architecture 1992 – 2012’; Wiley & Sons publishers.

Here the following chapters:

a. Introduction to Versioning: Evolutionary Techniques in Architecture by SHoP / Sharples, Holden and Pasquarelli, pp. 132.

b. Bernard Cache / Objectile: Topological Architecture and the Ambiguous Sign by Stephen Perrella, pp. 149

c. Philibert De l’Orme Pavilion: Towards an Associative Architecture by Bernard Cache, pp.153.


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^ Dezeen magazine (2012): ‘Technology and Design in the digital industrial revolution’; http://www.dezeen.com/2012/06/26/technology-and-design-the-digital-industrial-revolution/; (Accessed: October 2014).

^ Economist magazine (2012): ‘Manufacturing – the third industrial revolution’; http://www.economist.com/node/21553017; (Accessed: October 2014).

Recommended readings

~ Beorkrem, Christopher (2012): ‘Material Strategies in Digital Fabrication’; Routledge Publishers London.

Available as e book on http://www.amazon.com/Material-Strategies-Fabrication-Christopher-Beorkrem/dp/041553366X/ref=pd_sim_b_2?ie=UTF8&refRID=1HQK1AZ0HQXVT5WQ1A96; (Accessed: October 2014).

~ Glynn, Ruairi; Sheil Bob (2011): ‘Fabricate: Making Digital Architecture’, Riverside Architecture Press. Available on Amazon: http://www.amazon.com/Fabricate-Architecture-Ruairi-Glynn-Editor/dp/1926724097; (Accessed: October 2014). 11.2 Online resources Learning resources

Online resources are covering mainly skills needed in Grasshopper and Rhino. Help for Grasshopper can be found at:

• www.grasshopper3d.com

• www.idda.com (This homepage and the courses provided on the homepage a compulsory as online material for this class)

Help for Rhino can be found at;

• www.rhino3d.com

• www.idda.com (This homepage and the courses provided on the homepage a compulsory as online material for this class)

In general tutorials for learning both programs are part of the online learning requirements of the course. For the course we have defined the Rhino and Grasshopper tutorials by the Institute for Digital Design Australia (www.idda.com) as our learning platform as outlined in 5.1 Assignment task you need to complete the below listed assignment and exams at the due date specified in 5.1. Social network resources

UNSW CoDe has a Twitter, Instagram, Facebook and Youtube account and all lecturerare using these accounts to share information with their students. Thus please join and follow us on @UNSWCoDe (for all above listed networks) we will use “UNSW” + “CODE” + the course number as a hash tag to help finding the relevant info (for this course #UNSWCODE1150). Feel also free to post images of your design on social media using the hash tag. Video resources

Most lectures given in this course have videos embedded as part to illustrate what projects are and look like as well as give background knowledge to fabrication methods. In general I found these videos on the internet by searching either in Google or Youtube via the use of a search term. Naturally the lecture shows only one video out of potentially dozen of video clips. Thus search the internet for good clips and share them using social networks and use “UNSW” + “CODE” + the course number as a hash tag to help finding the relevant info (for this course #UNSWCODE1150). Presentation resources

Final presentation poster template to be used for the final presentation exhibition in week 15 can be downloaded at the course website. It is a requirement to use this template with the fonts and logos embedded in the template.



11.3. Case studies Case studies for Sectioning are:

Image 1: Sectioning – Project by Jürgen Mayer H.; ‘Metropol Parasol’, Sevillia, Spain; 2011 © http://urbanpeek.com/wp-content/uploads/2011/08/Metropol-Parasol-22.jpg

One of the world’s biggest projects using sectioning as a method to create a giant canopy built out of timber elements.

• Loewy Bookshop / Paris, France / 2001 / Jakob + MacFarlane

• [c] space / London, UK / 2008 / Alan Dempsey and Alvin Huang

• Metropol Parasol / Seville, Spain / 2011 / Juergen Meyer H.

• Mafoombey / Helsinki, Finnland / 2005 / Martti Kalliala, Esa Ruskeepää with Martin Lukasczyk.

• Wiggle Chair / non / 1972 / Frank O. Gehry

It is necessary to search for these projects and study them further on your own using the internet, book or magazine publications and others. Naturally these are by far not all projects that have used the technique, we expect students to investigate projects on their own and present and show them during the tutorials as inspirations or reference material for your design.

Case studies for Tessellating are:

Image 2: Tessellating – Project by Rebekah Araullo and UNSW ArchComp students; ‘Euphonious Mobius’; Sydney, Australia; 2012 © M. Hank Haeusler

Research project that investigated if LED illuminated wooden pixels could form a screen with a gradient of different resolutions within one surface.

• Geodesic Dome / Montreal, Canada / 1967 / Buckminster Fuller

• Domoterra Lounge / Zurich, Switzerland / 2007 / Gramazio & Kohler

• Helios House / Los Angeles, USA / 2006 - 7 / Office dA and J M & A

• Technicolor bloom / Vienna, Austria / 2008 / Brannan Buck

• Euphonious Mobius / Sydney, Australia / 2012 / Rebekah Araullo + UNSW ArchComp students

It is necessary to search for these projects and study them further on your own using the internet, book or magazine publications and others. Naturally these are by far not all projects that have used the technique, we expect students to investigate projects on their own and present and show them during the tutorials as inspirations or reference material for your design.


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Case studies for Folding are:

Image 3: Folding – Project by Andrew Kudless (Matsys) © http://matsysdesign.com/wp-content/uploads/2009/06/IMG_4703.jpg

Latest development in the architect’s ongoing area of research into cellular aggregate structures.

• Dragonfly / non / 2007 / Tom Wiscombe/EMERGENT

• Nubrik / Non / 2005 / AEDS/Ammar Eloueini

• In-Out Curtain / non / 2005 / IwamotoScott

• Entry Paradise PAvillion / non / 2006 / Chris Bosse (PTW Architects).

• C_Wall / non / 2006 / Andrew Kudless (Matsys)

• Manifold / non / 2004 / Andrew Kudless (Matsys)

These are only a few projects that exist at present. It is necessary to search for these projects and study them further on your own using the Internet, book or magazine publications and others. Naturally these are by far not all projects that have used the technique, we expect students to investigate projects on their own and present and show them during the tutorials as inspirations or reference material for your design.

Case studies for Contouring are:

Image 4: Contouring – Project by Urban A&O © http://www.tocci.com/wp-content/uploads/2009/07/bonewall_04.jpg

Project inspired by the work of the Austrian sculpture Erwin Hauer.

• Bone Wall / non / 2006 / Urban A&O

• Gradient Scale / Non / 2005 / SPAN

• D-Tower / Doetinchem (The Netherlands) / 2003 / NOX

These are only a few projects that exist at present. It is necessary to search for these projects and study them further on your own using the internet, book or magazine publications and others. Naturally these are by far not all projects that have used the technique, we expect students to investigate projects on their own and present and show them during the tutorials as inspirations or reference material for your design.



Case studies for Forming are:

Image 5: Forming – Dark Places project by Servo © https://smmoa.org/wp-content/uploads/2012/06/Dark-Places-2006-Installation-view.jpg

Interactive installation that uses forming to produce structural system

• Hugo Boss Flagship Store Omotesando / Tokyo, Japan / 2013 / Norihiko Dan

• Florencia Pia mod / non / 2007 / Alice

• Dark Places / non / 2006 / Servo

• Housing in Vienna / non / 2007-08 / SPAN

• ILUMA Urban Entertainment Centre / Singapore / 2009 / realities:united

These are only a few projects that exist at present. It is necessary to search for these projects and study them further on your own using the internet, book or magazine publications and others. Naturally these are by far not all projects that have used the technique, we expect students to investigate projects on their own and present and show them during the tutorials as inspirations or reference material for your design.

12. Class requirements Class material

As the course suggests we are learning aspects of digital fabrication thus we need materials that enable us to built objects and artefacts. We are using for 3D printing (https://www.makerbot.com/) a PLA filament (white only) that can be purchase at the following locations online, naturally there are other options available, make sure that the material is suitable for the Makerbots we have in the faculty, talk to your tutors when in doubt:

http://3dprintersuperstore.com.au/

https://store.makerbot.com/filament

You will need around one role of filament in the class, but the filament will be used in other classes as well and during the rest of your studies thus it’s not going to waste.

The second material we will use for laser cutting is 3mm plywood, 3mm cardboard or 3mm clear acrylic (Perspex) all materials with the dimensions of 300 x 600mm. Ask your supplier if they can cut the material for you with these dimensions as you can not cut them to size at university. These are the only materials we will use for laser cutting! Do not use any other materials as the ones specified above. You can purchase the materials at one of these places either online or in a shop:

http://www.misterplywood.com.au/

http://www.plasticsfactory.com.au/products/Acrylic.html

https://www.eckersleys.com.au/

or

Eckersley stores in Sydney https://www.eckersleys.com.au/locations/state/NSW


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Studio class requirements

It is expected that you will bring your laptop with the below mentioned software packages to each class. Not bringing a laptop means we cannot look, comment and help you with your work, as we do not run this class in a computer classroom. Using your friend’s laptop means that he or she cannot work in the time given in class and thus is not an option either.

Software and hardware requirements

We will use two main software packages in the course, Grasshopper 3D to script objects and artefacts and Rhino 3D to visualise the outcomes of the script. You are required to download a one-year online teaching licence from the Institute of Digital Design Australia (http://idda.com.au) to learn Grasshopper and Rhino. This online licence will function as your ‘textbook’ for Year 1. In both courses, Rhino and Grasshopper, you will complete two out of three steps and these steps will be tested in an exam. The cost for the online course is listed on the homepage (at present A$ 119) and it is the responsibility of each student to gain access to the course.

Grasshopper (as the software) can be downloaded (for PC only) at following link (http://www.grasshopper3d.com/page/download-1) for free, please use always the latest version (at the moment Version 5). Rhino 3D (as the software) can be downloaded as well as a trial version (http://www.rhino3d.com/download/rhino/5/latest) again use here the latest version at the moment Version 5. UNSW has these licences on all machines in the computer labs and we are working on a floating licence thus you will have them on your laptop as soon as you are online and log in via your UNSW student ID. As you do not need save your design in Rhino (you will save it in Grasshopper, Rhino will only visualise it) the limited amount of times you can save a design is not an issue. Further more secondary software packages you will need are for laser cutting:

Software that is uploaded to the desktop computer next to the laser cutter. You will not need this software but you will learn how to use this software in an OH&S class outside your normal class hours. These times are communicated via Moodle. You can also use Adobe / Illustrator for preparing your laser cutting files. Illustrator is part of the teaching in CODE1161. Knowledge gained in this class need to be applied here.

For 3D printing:

One cannot print directly out of Rhino with the Makerbot printers but needs to use the Makerware software to prepare the file. The Makerware software is free and explanations about the software can be found at following link: https://www.makerbot.com/desktop

Facilities requirements Students will gain access to the digital fabrication facilities at UNSW. Access to these facilities comes with a responsibility towards the facilities. The exact nature of how the facilities are used are explained at a later stage of this document.

13. Expectations The lectures and the tutorials are an integrated part of this class. Missing out on lectures will have the consequence that your will miss out on seeing and hearing about projects that used digital fabrication and thus you will lack design input heavily needed in other classes such as ARCH1101 or CODE1110. Further the lectures will provide you with foundation knowledge for later classes such as CODE2121 up to your final year project. Topics and issues discussed in the class subject to an exam later in the semester and missing out on classes will consequently risk your ability to pass the exam and consequently the course. Grasshopper scripting is like learning a new language (it is a computer language thus the comparison is quite correct). As you all have experienced in school learning a new language will take time to



master it and tutorials at the beginning provide an important base on which all later knowledge is built upon. Thus the tutorials in this course are absolutely essential to learn a language you will deepen in the next semesters to come (CODE1231 / CODE2121 / CODE2250 / CODE2270 / CODE2230). Acknowledging that a new language is difficult to learn we proceed in very slow steps to assure you all can pick up Grasshopper. Nether the less you only can do so when attending class and doing your assignments. An advice at this stage, things will take time and you will take longer in developing and writing a script as you might think. Thus plan in a lot of time to complete your tasks for the next class. If you experience and difficulties please refer to Special Consideration, Late Work and other policies in the BE Policy Outline at: https://www.be.unsw.edu.au/sites/default/files/upload/pdf/currentstudents/LearningTeaching/BE_AcademicPolicyOutline2014.pdf

14. Learning experience and teaching strategies

The Digital Fabrication and Constructions path’s educational focus is on joining digital design with fabrication and construction process to built accurate artifacts of computer-generated designs by using 3D modeling software and additive and subtractive manufacturing machinery. In order to teach this process the stream access knowledge and findings in material science, manufacturing and robotics engineering, construction, computer science and design. The projects designed in the stream will lead to built artifacts, not in an architectural or urban design sense but as explorations to propose complex surfaces where the properties and characteristics of the used materials and machinery determinates the design outcomes.

The course will enable students to understand recent developments in digital fabrication and are able to translate this knowledge into their own professional

background. Further students will gain first insides into computation and scripting using Grasshopper and are able to use digital fabrication tools such as laser cutter and 3D printer for their respective studies in other courses.

Active learning strategies are applied and the course will have students inspired and familiarized through a lecture series (Week 1 – 13 / one hour) where students are introduced to the thinking and current issues of digital fabrication, this is assessed through Assignment 3 (Week 15) an online exam in form of a computer generated quiz. Further active learning is required in the online learning component of the course in which students need to apply online methods to complete learning stages in Assignment 2 (Week 2 / 3 / 4 / 5).

Experimental learning of the skills in Digital Fabrication and Grasshopper via a tutorial in a small class set up of up to 20 students per tutor while sitting in front of a computer for a duration of 3 hours per week (Week 1 – 12). Here students will learn scripting skills that will produce virtual objects and artefacts that are in a second step produced through digital fabrication (Laser cutter and/or 3D printer) as Assignments 1 and its individual learning stages 1 – 4.

15. OH&S and workshop training CODE1150 is using machines as part of the course and under UNSW requirements students must complete OH&S and workshop training prior to using the machines in a combination of Moodle class and workshop and machine introduction. As the use of the machines is essential to complete the class students need to pay particular attention to the deadlines and the protocol of the OH&S and workshop training.

For CODE1150 and CODE 1110 students need to complete following modules:

• BHSM 001 • BHSM 002

For CODE1150 in particular:


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• BHSM 012 (Fab Lab introduction) • BHSM 013 (3D printer / Makerbots

and Up) • BHSM 015 (Laser Cutter)

BHSM 013 and 015 will have a service fee of A$ 55. Please refer to the OH&S and workshop training Moodle page for payment details.

Additional, BHSM 013 and 015 have and introduction session and demonstration under supervision section. The introduction session is in the first two weeks of the semester each day from 1 – 2pm (the fab lab is closed at this time for any other students) Demonstration under supervision is again in the first two weeks of the semester each day from 2 – 5pm. Students can come at any time and demonstrate their skills.

BE workshop induction process BE Health and Safety Inductions (2015) is a modular system of training. Some modules are delivered totally online, using UNSW Moodle’s lesson format, others require an additional practical session with an instructor.

Interested students should:

1. Determine which modules they need to undertake.

2. Complete the relevant module and online lesson.

3. Book and pay for any required practical session/s.

4. Attend/complete the practical session.

To access a BE Induction Module:

• Go to the UNSW Moodle Homepage https://moodle.telt.unsw.edu.au/login/index.php

• Enter your User ID and Password when requested.

• In the ‘Search Courses’field, enter: BE_Health & Safety Inductions (2015), click the ‘Go’ button.

• When asked to enrol, choose ‘Enrol Me’ The Self-enrol key is ThinkSafeActSafe

• Select the module you want.

To access BE Health & Safety Resources:

• Go to the UNSW Moodle Homepage https://moodle.telt.unsw.edu.au/login/index.php

• Enter your User ID and Password. • In the ‘Search Courses’field, enter:

BE_Health & Safety Resources (2015), click the ‘Go’ button.

• Self-enrol key is AccessSafetyInfo • Select the information you want.

To book and pay for an Induction practical session https://activities.be.unsw.edu.au

Your browser will ask you to authenticate:

Username: bepay

Password: quilt

Choose the practical session from the ‘Activities’ section.

16. Course aims Course Aim 1: The course will enable students to understand recent developments in digital fabrication and are able to translate this knowledge into their own professional background. Course Aim 2: Further students will gain first insides into computation and scripting using Grasshopper and are able to use digital fabrication tools such as laser cutter and 3D printer for their respective studies in other courses.

17. Learning outcomes At the successful conclusion of this course the student will be able to:

1: Develop basic skills in Grasshopper

2: Recognize digital fabrication as a new form of manufacturing

3: Have gained knowledge existing digital fabrication techniques

4: Being OH&S trained for machines (Laser cutter and 3D printer) in Digital Fabrication Lab.

18. Parity Session



THIS ONLY APPLIED FOR CODE STUDENTS. As part of creating a community and culture of showcasing work, students will be required to submit a selection of their best images (plans, renderings, model pictures, screenshots, etc.) from their final presentation as well as work in the progress during semester. This will also help in marking and feedback. The online submission is an essential requirement. Failing to do so will give you a (-) 10% of your overall mark. The collection of student works will also be employed for marketing purposes. As you know, we are a very young discipline and we want to share what you have designed and produced during the semester. The submission platform will be within Moodle. The following defines the expectations of what to submit.

For Moodle Submission:

• Five indicative images that best represent your work / designs during the semester.

• For landscape image (approx. 2480 x 3508 pixels @ 300 dpi) for portrait image (approx. 3508 x 2480 pixels @ 300 dpi)

• For each of the five images please provide five keywords in order to find images later.

• Upload images as explained in 4. Course Website.

• Deadline is day before parity session 5pm. (Moodle page will close).

Images for the Week 15 parity session / Moodle submission can be uploaded to the Moodle Gallery by:

• From the course home page, click the media collection link.

• In the collection page, click the Edit icon for the gallery to which you want to begin adding items.

• On the gallery's home page, click Add an item.

• On the resulting page, click Expand all, then in the General section:

• Enter a Caption for the item. • Add any Description necessary.

• Drag and drop a Content file, or click Choose a file and browse for a file.

• In the Advanced section, complete all the relevant fields.

• Click Save changes. The item displays with its thumbnail and caption on the galleries page.

For the Week 15 parity session: • Create a poster with the five

images you have uploaded onto Moodle. The poster will use the layout (parity layout template that can be downloaded on the Moodle page for each course) and has to be printed on white 3mm core flute.

• Pin up of poster with dates is outlined in Week 15 lecture / tutorial activity.

• The layout has either a portrait or a landscape format and students can use either one or the other or a mix of both to represent the four courses they have done in each semester.

• The size of the template is the same size as the black exhibition boxes UNSW uses for their exhibitions and you showed fix the core flute poster to the black boxes using i.e. adhesive tape.

• Students have each six of these black boxes to use four of them to attach their core flute posters and the remaining two to showcase any models or other physical outcome of the semester.

• Again you have to curate your work and choose the best to re-present your work.


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19. Course Graduate Attribute

20. Built Environment and UNSW Academic Policies

All students are required to understand the BE and UNSW academic policies. Make sure that you familiarise yourselves with this document.

This document governs all Faculty of Built Environment (FBE) programs and is available in all FBE course outlines and on Moodle, as well as on the UNSW BE student intranet: http://www.be.unsw.edu.au/student-intranet/academic-policies

It covers:

• Built Environment Student Attendance Requirements

• Units of Credit (UOC) and Student Workload

• Course and Teaching Evaluation and Improvement (CATEI)

• Academic Honesty and Plagiarism • Late Submissions Penalties • Special Consideration - Illness &

Misadventure • Extension of Deadlines • Learning Support Services • Occupational Health & Safety

CODE1150 course Graduate attributes Learning outcome

Activity/Assessment

H / Scholars who are digitally literate 1,2,3,4 Learn Grasshopper and digital fabrication skills and apply them via use of machines.

A / Scholars who are understanding of their discipline in its interdisciplinary context

3,4 Capable of using hardware and software and translate this knowledge into different contexts.

D / Scholars who are able to apply their knowledge and skills to solving problems

1,2,3,4 Able to apply parametric concepts through scripting to solve problems

I / Leaders who are enterprising, innovative and creative

1,2,3 Learning state of the art design and production processes

Documents

UNSW | Built Environment | Computational Design Program ... · UNSW | Built Environment | Computational Design Program YEAR 1 | SEMESTER 1 | 2015 Table of Contents 1. Course Description