huynh_derek_640183_sketchbookfinal

AIR_SKETCHBOOK2015_SEMESTER 1_CANHUI CHEN

DEREK HUYNH_640183

CONTENTS

A_CONCEPTUALISATION

5 LOFTING & STATE CAPTURE

6 TRIANGULATION ALGORITHMS

9 MESH GEOMETRY

12 TRANSFORM MENU

16 CURVE INTERSECTIONS

18 DRIFTWOOD SURFACES

20 DATA TREES

22 CULL PATTERNS

23 GRIDSHELLS

25 PATTERNING LISTS

B_DESIGN CRITERIA

28 TRIGONOMETRIC FUNCTIONS

31 FIELD FUNDAMENTALS

32 COMBINING TECHNIQUES

35 FIELD EXPRESSIONS

37 FRACTAL TETRAHEDRA

39 EVALUATING FIELDS

40 IMAGE SAMPLING

41 GRAPHING SECTION PROFILES


43 FIELD FUNDAMENTALS


45 TREE DATA MANAGEMENT

47 DRIFTWOOD FRAMES

48 CONTINUOUS PATTERNING

49 KANGAROO AND COMBINING TECHNIQUES

ACONCEPTUALISATION

LOFTING & STATE CAPTURE

LOFTING + BAKING THREE CURVES

VISUALISING INTERPOLATION OF LOFTED SURFACES

Blanket-like roofing?

Could be good for transitioning between public and private spaces.

Openings seem inviting.

Overall forms seem organic.

CONCEPTUALISATION 5

TRIANGULATION ALGORITHMS

POPULATE 2D, DELAUNAY & VORONOI

OCTREE

6 CONCEPTUALISATION

Increasing Octree resolution produces a ‘smoother’ final form

PLAN1 SKYLIGHT

2 ENTRANCE

FRONT ELEVATION

1

2

CONCEPTUALISATION 7

8 CONCEPTUALISATION

Experimenting with processing Voronoi 3D with another Voronoi 3D

CONCEPTUALISATION 9

MESH GEOMETRYWELD AND MESH SMOOTH

Adjusting the smoothing level transforms geometric model into organic, more dynamic outcome

10 CONCEPTUALISATION

MESH GEOMETRYINTERPOLATE CURVE (PREVIOUS)GEODESIC

CONCEPTUALISATION 11

Increasing interpolated curve density highlights the Moire effect


TRANSFORM MENUCONTOUR + LOFT (RIGHT)

Lofting did not seem to match that of the tutorial - this one seems too sharp

and geometric. Maybe adjust loft settings?


Applying Dolly Zoom increases sense of depth, helping the viewer feel like they are there in the image


SCALING AND DISTORTING COUNTOURS

Extending from 2D distortion, I decided to use a 3D reference geometry and play with its forms.

The initial iteration looks a lot more dynamic whereas

the final iteration looks aggressive probably due to

the sharp edges

BOX MORPH



CURVE INTERSECTIONSSUB-HEADING HERE


DRIFTWOOD SURFACESOFFSET + EXTRUSION + SPLIT SURFACE

Experimented with distorting the reference

curves. At some points, the loft surfaces did not appear?


DATA TREESCROSS REFERENCE

Tried to use Cross Reference on round, organic curves. The overlapping is very

interesting and there is no overall pattern or repetition.


Interesting to see the changes in patterns

of holes and overlaps between the threads

joining the lines of points when I change

the number of points on one line (i.e. left line: 20

points, right line: from 30 to 50 points)


CULL PATTERNSLIST + CULL

I thought it would be interesting to use an image with a lot

of gradient definition to cull because culling makes it

monotonous and textures are only created through the

difference in sizes of the circles.


GRIDSHELLSDIVIDE + EXPLODE TREE + SHIFT + REBUILD + GEODESIC

Explored different geometric configurations and manually rotates curves to investigate

differences between Grasshoper’s Shift function


I really like the depth portrayed in this spiral-

within-spiral form


PATTERNING LISTSVORONOI + LIST LENGTH + SERIES + JITTER + ITEM + PARTITION + REGION UNION

Added additional offset curves by scaling the average

discountinuity points of the original pattern. This creates amore fabricatable outcome

BDESIGN CRITERIA

28 DESIGN CRITERIA

TRIGONOMETRIC FUNCTIONS

TOP:SINE + POINT FROM X, Y, Z

BOTTOM:SERIES+ MANUAL ALGORITHM (SINE AND COS AND PHI)+ CONSTRUCT POINT+ CULL LIST+ VORONOI 3D+ BOX+ INTERPOLATE CURVE

I initially used sine and cosine functions and

found them to create very symmetrical outcomes so

using a tan equation instead produced a more organic and interesting outcome.

DESIGN CRITERIA 29

TRIGONOMETRIC FUNCTIONS

PREVIOUS PAGE:SERIES+ MANUAL ALGORITHM (TAN AND SINE)+ CONSTRUCT POINT+ CONSTRUCT DELAUNAY+ EVALUATE CURVE+ REPEAT LAST TWO STEPS SEVERAL TIMES+ VORONOI

THIS PAGE:SERIES+ MANUAL ALGORITHM (SINE AND COS)+ CONSTRUCT POINT+ CULL LIST+ VORONOI+ DISTANCE BETWEEN CENTRE AND POINTS+ REVERSE+ SCALE NU

30 DESIGN CRITERIA

DESIGN CRITERIA 31

FIELD FUNDAMENTALSPOINT CHARGE + FTENSOR + DIRECTION DISPLAY

COMBINING TECHNIQUES

32 DESIGN CRITERIA

COMBINED TECHNIQUES INCLUDING:‘FIELD FUNDAMENTALS’ + ‘TRANSFORM MENU’

After investigating Field Fundamentals I decided to re-visit the Box-Morph

technique from earlier weeks to see whether I could combine the two.

I found the outcomes to be dynamic but still have a structure nature from the

gridded boxes.

DESIGN CRITERIA 33


34 DESIGN CRITERIA


COMBINING TECHNIQUES INCLUDING:‘FIELD FUNDAMENTALS’+ ‘TRIANGULATION ALGORITHMS’ + ‘VECTORS’

I’ve found Voronoi 3D to always reduce the expression of certain design intents. In this case, evidence of the Field Strength’s effect

on its surroundings has been lessened because of Voronoi’s cell-creation

spatiality.

DESIGN CRITERIA 35

FIELD EXPRESSIONS

SURFACE + DIVIDE DOMAIN + ISOTRIM SUBSURFACE + DECONSTRUCT BREP + EVALUATE SURFACE + EVALUATE + CIRCLE CNR + EXTRUDE + CAP + CURVE CLOSEST POINT + BOUNDS + REMAP

36 DESIGN CRITERIA

FIELD EXPRESSIONSBOUNDS + REMAP + EVALUATE + INTERPOLATE CURVE + FRAMES + SQR GRID + EXTRUDE + CAP

FRACTAL TETRAHEDRAPOLYGON + EXPRESSION + UNIT Z + EXTRUDE + CAP + DECONSTRUCT BREP + SCALE + SOLID DIFFERENCE + REPEAT LAST THREE STEPS SEVERAL TIMES

DESIGN CRITERIA 37

The overall forms of various ‘levels’ or ‘platforms’ reminds me a lot of today’s

skyscraper designs - a combination of the old (traditionally achievable

horizontal geometries) with the new (fluid, dynamic

vertical forms)

38 DESIGN CRITERIA

EVALUATING FIELDS

POPULATE 2D + DIVIDE+ SPIN FORCE+ POINT CHARGE + MERGE FIELDS + CIRCLE + DIVIDE + FIELD LINES

DESIGN CRITERIA 39

I found this result to be one of the more interesting

Field Line experiments. The gradual increase in line thicknesses due to

the increasing density of Field Lines gave a stronger

sense of contrast to the composition. The idea of fluid accumulation also

reminded me of the flow of water in producing rivers.

40 DESIGN CRITERIA

IMAGE SAMPLING

PREVIOUS PAGE:SURFACE+ SURFACE DIVIDE + IMAGE SAMPLER + EXPRESSION+ CIRCLE + GRAFT+ CIRCLE + EXPRESSION+ UNIT Z+ MOVE + GRAFT + LOFT

I decided to play around with the Spin Force’s strength and decay to refine the overall aesthetic of the towering forms. I felt the ‘right’ sense of rotation provided the model a strong sense of dynamics

and movement, almost as if this was a snapshot of the model before it flew off or collapsed.

THIS PAGE:SURFACE+ DIAMOND PANELS+ DEBREP+ AREA+ SRF CP+ IMAGE SAMPLER+ EVALUATE SRF+ MOVE+ MERGE+ DELAUNAY TRIANGULATION+ WBJOIN+ WBCATMULLCLARK

DESIGN CRITERIA 41

GRAPHING SECTION PROFILESPOPULATE 2D+ DIVIDE+ POINT CHARGE+ SPIN FORCE+ MERGE FIELDS+ CIRCLE+ DIVIDE+ FIELD LINES+ RANGE+ GRAPH MAPPER + POINT CHARGE+ ITEM+ EVALUATE FIELD + UNIT Z + MOVE+ INTERPOLATE CURVE+ PIPE


42 DESIGN CRITERIA

COMBINED TECHNIQUES INCLUDING: ‘GRAPH MAPPER’ + ‘CULL PATTERNS’+ ‘TRANSFORM MENU’

After many earlier attempts, I managed to finally extrude

and offset curves to solids based on distances between the base objects and an external attractor.

I decided to further experiment with these new abilities by applying it to a hexagonal grid, freeform

surface which was another challenge in itself.

FIELD FUNDAMENTALSOPTIONAL SUB-HEADING

DESIGN CRITERIA 43

44 DESIGN CRITERIA


PREVIOUS + CURRENT PAGE:COMBINED TECHNIQUES FROM ‘TRANSFORM MENU’ + ‘CULL PATTERNS’ + GENERAL LEARNING

Playing around with the Customer Preview and Colour picker settings

allowed me to emphasise specific design intents. In

this case, I wanted to create a stronger sense between

foreground and background by using a very light grey

and a very dark grey respectively.

TREE DATA MANAGEMENT

DESIGN CRITERIA 45

SURFACE DIVIDE+ RELATIVE ITEM+ POLYLINE+ EXPLODE+ OFFSET CURVE+ SIMPLIFY+ LOFT

SURFACE DIVIDE+ RELATIVE ITEM+ POLYLINE+ EXPLODE+ EVALUATE CURVE + EVALUATE SURFACE + CURVE CLOSEST POINT+ BOUNDS+ REMAP NUMBERS+ OFFSET CURVE+ SIMPLIFY+ LOFT

46 DESIGN CRITERIA

TREE DATA MANAGEMENT

SURFACE DIVIDE + GRAFT+ MOVE + CULL + 2 PATH MAPPERS + 2 POLYLINES + PIPE

DRIFTWOOD FRAMESSURFACE + DIVIDE + CURVE CP + VECTOR 2PT + CONSTRUCT PLANE + PLANE SRF + GRAFT+ BBX + PSHIFT + MOVE + 2 END PTS + PT + POLYLINE + PSHIFT + REGION UNION

DESIGN CRITERIA 47

Through creating my own Cull Pattern, I produced a tower with interesting

hierarchal nature. It reminded me of some of OMA’s works (although they did not necessarily

use parametric modelling) and their ‘hyper-rational’

approaches to ‘form follows program’.

48 DESIGN CRITERIA

CONTINUOUS PATTERNINGBREP+ EXPLODE + WIREFRAME+ EVALUATE+ AVERAGE+ VECTOR 2PT+ PYTHON+ BEZIER SPAN+ SHIFT PATH+ GRAFT+ UNROLL

KANGAROO + COMBINING TECHNIQUESEXPERIMENTING WITH OTHER CASE STUDIES - LAVA’S GREEN VOID

DESIGN CRITERIA 49

50 DESIGN CRITERIA

COMBINING TECHNIQUESEXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING IBA ARCHITECT’S CANTON TOWER

I found the most challenging section of the script was

figuring out how to manage the data to offset the points

before interpolating them into smooth curves.

KANGAROO + COMBINING TECHNIQUESEXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING ETH ZURICH’S PACKED PAVILION

DESIGN CRITERIA 51

I really like the clean joints between the circular-packed

panels. It gives me the impression of a levitating

structure.

52 DESIGN CRITERIA

KANGAROOEXPERIMENTING WITH OTHER CASE STUDIES - REVERSE ENGINEERING

Learning about the basic Kangaroo force and anchor

point components from LAVA’s Green Void allowed me to apply information directly into this similar case study.

CDETAILED DESIGN

DETAILED DESIGN 53

54 DETAILED DESIGN

FURTHER EXPLORATION OF GEOMETRIES AND KANGAROO

DETAILED DESIGN 55

56 DETAILED DESIGN


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58 DETAILED DESIGN


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60 DETAILED DESIGN


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