Fabrication + Representation @ghsu-arch - Tumblr Blog

Exercise 7.02b: Stereo Fidelity | Investigating the production of advanced typologies through 3-D stereometry and the fidelity of photometric scanning (Rhinoceros, Grasshopper, KUKA, 3D Scanner)

Since the geometry for Stereo Fidelity, Exercise 7.02a was fairly simple due to a technical error in curves in our first attempt, the 3-D scan of our object turned out pretty clean. There were no deep curves or cuts that went in too deep into the foam, nor were there holes that were cut, so the scanner was able to capture most of the information and retain the integrity of the original artifact.

Collaboration with Evan Troy Crawford

#exercises #arch333

Exercise 7.02a: Stereo Fidelity | Investigating the production of advanced typologies through 3-D stereometry and the fidelity of photometric scanning (Rhinoceros, Grasshopper, KUKA)

“ ‘Is it a school where #[i]madethat is the easiest way to caption an Instagram story with #[one of twelve lab assistants who has been adequately trained to toolpath in Mastercam and safely taught to operate our only reliable router]madethat?’ ” (Knot, Issue 13)

Asa deserves a raise after this week.

#exercises #fab333

radical technologies (adam greenfield, 2017)

In Radical Technologies, writer and urbanist Adam Greenfield discusses the visionary potential that technology holds in digital fabrication and its ability for efficient and sustainable production. Now in the “post-scarcity” age, technology is extremely prevalent and will continue to promise to transfigure lives as much of society is defined by their relationship with the digital. Navigation of the virtual and augmented are already present in almost every aspect of today’s culture, and with accessible technologies such as the 3D printer and CNC mill, anybody can take control of production, but there is concern in how to deploy the technologies in a way that resists exploitation. The inevitable revolution of digital technologies is maintained in a trust between developers and business leaders to change things for the better, in a brighter future. As Greenfield mentions, “at every point in history, control over the shape and distribution of matter has been tightly coupled with the shape and distribution of power,” so how can emerging and efficient technologies stay inviting and accessible? (112)

#reading responses #fab333

Exercise 7.01: Stereo Fidelity | Investigating the production of advanced typologies through 3-D stereometry and the fidelity of photometric scanning (Rhinoceros, Grasshopper, KUKA)

I literally do not understand what we are supposed to be learning in this class besides making random curves and calling it architecture

#exercises #fab333

Exercise 06.2: Kinematics and Path | Robotic light painting on the Agilus

An exploration of generation of form in a two-dimensional plane using Grasshopper and the Kuka Robot. An introduction into robotics that is engaging and enjoyable in watching the drawing take shape.

The rose is inspired by its symbol of balance, and the belief that the beauty of the flower expresses promise, hope, and new beginnings. Accompanied is the symbol that has become synonymous of luxury and sophistication, the brand logo of Gucci.

Collaboration with Evan Crawford, Justin O’Connell, + Everritt Phillips

#arch333 #exercises

Exercise 06.1: Kinematics and Path: Robotic light painting on the Agilus.

Curve drawn in rhino to be traced by the Kuka robot , KR-60, inspired by Gucci

#arch333 #exercise

Exercise 05.2: Low-relief surface | Milling a custom composite medium. (Grasshopper + CNC)

Inspired by Untitled (Joel Shapiro, 2009) and Untitled #32 (Joel Shapiro, 1990) Pastel + Charcoal on Paper

Part 2 of Exercise 05, milled by the CNC router. The quality of the cut of the foam did not turn out as clean as desired. I don’t know if that is because of the file or a variable with the router.

Collaboration with Evan Crawford

#exercises #arch 333

digital culture in architecture (antoine picon, 2010)

In a technology-focused culture, technology is continually derived into ways to integrate them into society and the lives that inhabit space. Picon discusses developments in digital technology and how it has affected architecture and the urban landscape. The world and life itself is a complex place, and to make sense of everything around them, many rely on technology through on cybernetics and models to predict and analyze behavior, instead of using their own experience of humans and human interactions. However, as expected there are limitations to what a computerized model can predict and optimize. Architecture today also resorts to a lot of technology usage in solving the problems that arise in thinking about space, but this has also led to architecture becoming very niche. In all their efforts to design for the people, they forget about the people themselves. A lot of architecture created through technological generation of form evokes awe, and may be functional, but cannot be extended to say that it has been adapted to conform to the complexity of human behavior. In relying on technology to understand something as sporadic as human behavior, many variables are lost. This calls for a more integrated method of design. But what does this mean? Can this only happen with more advanced technology that can account for more variables, or does this call for a recall on the technological-focused design of our day and emphasize the importance of human input in the design process? So perhaps the question is not how can design methods predict behaviors and interactions, but what they feel, because what is human nature if not feeling?

#reading response #arch 333

Exercise 05.1: Low-relief surface | Milling a custom composite medium. (Grasshopper + CNC)

Inspired by Untitled (Joel Shapiro, 2009) and Untitled #32 (Joel Shapiro, 1990) Pastel + Charcoal on Paper

Collaboration with Evan Crawford

#joel shapiro #fab333 #exercises

animate form (greg lynn, 1999)

In Animate Form, author and architect Greg Lynn challenges the boundaries of architectural form. Lynn defines the term “animation” and differentiates it from that of “motion,” stating that animation is “the evolution of a form and its shaping forces,” which suggests “animalism, animism, growth, actuation, vitality, and virtuality.” (9) This implies that form is a system with interacting forces that present patterns and gestures to create forms with a complexity that would not otherwise be possible. Like in many of the readings thus far, when technology is discussed, the role of the designer comes into question. It is not the role of the designer to figure out how, but instead to use the tools given to predict. With evolving technology, the designer must be able to analyze and find the potential within the program to create.

#fab333 #reading response

Exercise 03.2: Volumetric Assembly | Parametric variations, unfolding, cutsheet, and assembly of a curved surface form. (Grasshopper + Zund)

This exercise follows the preceding exercise, Developable Surface. The exercise creates physical assemblies and tests the limits of materiality and form from the digital to the physical.

Collaboration with Evan Crawford.

#arch333 #exercises

Process of Volumetric Assembly

#arch333 #exercises

the alphabet + the algorithm (mario carpo, 2011)

Mario Carpo’s The Alphabet + The Algorithm looks back to the origins of architectural design in the Renaissance and the work of Leon Battista Alberti and Filippo Brunelleschi to analyze the concept of design and its role in the digital world today. Digital technology allows for “unlimited variances.” (101) High-tech is the fall of identicality in design and replaces it with sameness, or as Carpo puts it, “in the new world of algorithmic, or differential reproducibility, visual sameness is replaced by similarity.” (101) This has already been experienced in the course of this class, Representation * Fabrication. In the exercises that have been instructed, individuals were given the same programming file to generate their own design. While the algorithms were more or less identical, with only a few differing parameters, the generating results were vastly different. Much like Manuel Delanda’s Deleuze and the Use of the Genetic Algorithm in Architecture, this reading discusses the potential of design in the evolution of design in the digital age is infinite. Before the digital, the architectural design process was very autographic. However, now, with the aid of technology, representation and visualization can push their limits even further as the designer continues to understand the process even more.

#reading response #arch333

deleuze and the use of the genetic algorithm in architecture (manuel delanda, 2001)

In Deleuze and the Use of the Genetic Algorithm in Architecture, using the analogy of the genetic code, Manuel DeLanda discusses the evolution of form-making techniques fueled by technological advances and the designer’s role in computational design. DeLanda asserts that “if evolved architectural structures are to enjoy the same degree of combinatorial productivity as biological ones, they must also begin with an adequate diagram, an ‘abstract building’, corresponding to the ‘abstract vertebrate.” (12) At this point, design evolves in reproduction, while still containing the same code that the design propels off of. This, as DeLanda mentions, calls for a design process that differs from the traditional one, and the designer themself must evolve their role in the process as well. The evolution of design necessitates the designer to be able to hack into the code to bring out the mutations that differentiate and create interesting forms, as well as into biology, thermodynamics, mathematics, and other sciences to utilize as resources. The evolution of computational design broadens the available tools and possibilities for design. The flexibility in the code of design creates the potential for infinite design.

#reading response #arch333

Exercise 03.1: Developable Surface | Parametric variations, unfolding, cutsheet, and assembly of a curved surface form. (Grasshopper + Zund)

While generated from the same computational logic and programming, two vastly different forms were created. The potential for change and creation through manipulation of a single variable is astounding.

#arch333 #exercises

computational design thinking (achim menges + sean ahlquist, 2011)

In Computational Design Thinking, Achim Menges and Sean Alquist discuss computation and digital design in terms of theory and application. Computers are perhaps one of the most useful tools in design today, yet comprehension of how the tool functions is often overlooked. This reading provides a distinction between computation and computerization and the designer's role within the technical processes. The computer, by itself, is not capable of good design, nor does the use of a computer automatically guarantee good design. It requires the designer to be knowledgeable in the program and aware of how inputs affect the outputs. As previously discussed in Otl Aicher’s Analogous + Digital, analogous does not take away from the digital, nor does the digital take away from the analogous. Ways of generating and modes of thinking shift as tools develop and evolve and it is naive to discount one or the other. Technology propels design forward. Computation is not only a tool but a process for generative and explorative design and it is imperative for the designer to understand the system to manipulate the details. When the two are no longer independent and work together in union, radical design can be generated.

#arch333 #reading response

Excercise 02: Algorithmic Beauty | Solidity in Flux / The Gesture of Surrender

Algorithmic discovery: Create a generative sketch of your own for a serial patterning in 2D, with emphasis on emergent geometry (Grasshopper starting from a blank canvas).

Due to compression and quality concerns, link to animation can be found here.

Collaboration with Evan Crawford

#arch333 #exercises

Trending Blogs

Recently Viewed Blogs

Fabrication + Representation