Architecture Design Studio Air 2012Progress Journal

Lucy Griffith 389404

PART 1 EXPRESSION OF INTEREST

Case for innovation Week 1- 3

Research Project Week 4- 6

Expression of Interest Week 7/8

PART 2 PROJECT PROPOSAL

Week 9/10 Week 11/12

FINAL SUBMISSION

PART 3 LEARNING OBJECTIVES AND OUTCOMES Week 13

REFERENCES

CONTENTS

WEEK 1 1

PART ONEEXPRESSION OF INTEREST

WEEK 1 2

CASE FOR INNOVATION

ARCHITECTURE AS DISCOURSE

WEEK 1 3

W1

WEEK 1 4

INTRODUCTION TO RHINO

ARCHITECTURE AS DISCOURSE

WEEK 1

Habitat

Lucy griffith

2009

5

Select one personal and two state of the art projects and explain how they are (could be) advancing architectural discourse.

WEEK 1 6

WEEK 1 7

PlaySoundLucy Griffith2010

First Year Designing EnvironmentsBrief: Create a Sound Playground for children around 3 years of age.

The concept for the ‘Playsound’ was to utilise and further a three year olds new found understanding of cause and effect through an interactive musical playground.

Figure 1- Playsound

Interactivity and Experience

Interaction between an audience and design is a very important aspect of architecture. This is demonstrated through the concept of the Playsound through interactivity. In the case of the Playsound, children (and adults alike) would be curious and excited by the interactive nature of a musical playground and learn simply by engaging with the space.

Whether you are directly experiencing a design or not it can have an affect. Not only are those directly in contact with the Playsound engaged but those in the surrounding areas could hear the music created by such young children, creating interest and engagement with the space from afar as well. In ‘Architecture and Visual Culture’ (2005), Williams’ discussion on architecture and urban experience suggests that you don’t have to be inside a building or have a direct link to it in anyway to be affected by it. The form and meaning of the design, the social interaction with it and reaction towards it can affect the way people live around it and how it is portrayed to others beyond its own city and even country.

Learning or experience through engagement with a design, and the creation of a far reaching curiosity are two key aspects which would be beneficial in the design of the Wyndham City Gate project. These qualities provide a possibility of defining Wyndham as a centre of arts to the wider community through an art work which “inspires and enriches”.

WEEK 1 8

Figure 2

WEEK 1 9

Melbourne Recital CentreMelbourne AustraliaAshton Raggatt McDDougalL2009

The brief for the Elizabeth Murdoch Hall within the Melbourne Recital Centre was to create a space with supe-rior acoustic performance without bulky sound reflectors or other extraneous details.

The Melbourne Recital Centre has won the National Award for Public Buildings at the 2009 Property Council of Australia Rider Levett Bucknall Awards for Innovation and Excellence.(The Melbourne Recital Centre, 2012) The Melbourne Recital Centre and Melbourne Theatre Project also won the Victorian Architecture Medal, the William Wardell Award for Public Architecture and the Joseph Reed Award for Urban Design at the Australian Institute of Architects Victorian Architecture Awards.

Figure 3- Elizabeth Murdoch Hall

In the Melbourne Recital Centre the architects achieved the difficult brief with the aid of formal digital analysis acoustic software. Using the software the room was “progressively tuned”. (Burry, Mark & Jane, 2011) The sculptural qualities in the walls diffuse the different musical frequencies differently depending on the depth of the relief.

This is an important example in the discourse of architecture because it is us-ing digital technology to get the best functional qualities out of the space. Not only does it optimise the function of the space but it has been achieved in a sculptural and cohesive way. All traditional acoustic devices such as reflectors, and other functional elements such as safety railings are combined so they fit seamlessly into the overall aesthetic of the room.

Digital Design- Acoustic Optimisation

WEEK 1 10

Figure 4- Progressive tuning using digital software

Figure 5,6,7

WEEK 1 11

Seed CathedralThomas HeatherwickShanghai Expo2011

Thomas Heatherwick’s company ‘Heatherwick studio’ was selected to create the UK Pavilion as the Shanghai Expo. The theme of the expo was “Better City. Better Life.” (Heatherwick, 2011)

The objectives of the design were for the architecture to be a manifestation of the exhibit; provide public space and have one idea that would stand out from the chaos. The Seed Cathedral displays the work of the Royal Botanical Gardens at Kew and their Millennium Seedbank.

Figure 8

Figure 8

WEEK 1 12

Figure 9- Seed Catherdral interior

Figure 10- The Rolling Bridge

Thomas Heatherwick’s aim is “to bring architecture, design and sculp-ture together within a single practice.” He works with many differ-ent professionals to achieve this interdisciplinary aim. This is a very important and forward thinking approach to design and the current overall discourse of architecture. (Heatherwick, 2011)

In 2006 Thomas Heatherwisk won the “British designer of the Year” award for his design of the rolling bridge. Heatherwick’s approach to design focuses on how something works, rather that what it is.

This project references back to William’s dis-cussion on architecture as art in Architecture and Visual Culture(2005) as it was able to be an expression of the architect’s creativity without a restrictive and functional brief from the client. The Seed Catherdal addresses all of William’s descriptions of architecture as art, sign and spatial experiences but it takes it beyond this point creating new ideas about design, function and technology. I think the important part of Heatherwick’s work in archi-tectural discourse is that he is reinventing old ideas and sling shotting them into the future. In the Seed Cathedral project Heatherwick looks back to the Victorians as being the first people to integrate nature into cities and the first to have a botanical institute. Nature is a massively influential element in an attempt to create cities of the future. Heatherwick took the smallest and most basic element of na-ture (seeds), and redefined its meaning giv-ing it new life, and making it seem precious. This design is the epitome of “enhancing the physical environment through visual arts”, a requirement in the brief for theWyndham City Gate Project.

COMPUTING IN ARCHITECTURE

WEEK 2 13

W2

WEEK 2 14

OPTIMISATION

This week our journal research task is toresearch a unique innovation in computational design. My group consisting of Beltas Jap, Shenia Lay and my-self (Lucy Griffith) have chosen to focus on the area of optimisation. Each of us came upon Optimisation in our research during the last week looking into architectural discourse. I became interested in furthering this research because of the precedence of the Melbourne Recital Centre.

GRASSHOPPER: EXLAB TUTORIAL 1

WEEK 2 15

IN CLASS INTODUCTION TO GRASSHOPPER

Spheres Move Scale

1.1 MAKE A POLY-LINE FROM POINTS

Polyline 1- Open PolylinePolyline 2- Closed Polyline

Rotate: Solid (x-axis)

Rotate: Curve

Rotate: Solid (y-axis) Rotate: Solid (z-axis)

PERSPECTIVE

PERSPECTIVE

Rotate: Curve Loft

1.2 ROTATE WITH MULTIPLE ANGELS USING A RANGE

EXLAB: TUTORIAL 1

WEEK 2 16

PERSPECTIVE

Rotate: SurfacePERSPECTIVE

Rotate: Surface Loft

WEEK 2 17

1.3 ROTATE WITH MULTIPLE AXES USING PLANE COMPONENETS

ONE AXIS

PERSPECTIVE

FRONT

RIGHT

TOP

WEEK 2 18

1.3 ROTATE WITH MULTIPLE AXES USING PLANE COMPONENETS

TWO AXES

i particpated in the exlab workshop during the summer holidays, however i found it quite difficult to keep up with because of my lack of famiiarity with computers. This how-ever was a great help in participating in this studio. For the second time around looking into these definitions and trying to nut out grasshopper i found it much easier to keep up and experiement.

WEEK 2 19

WEEK 2 20

OPTIMISATIONWEEK 2 21

SMITHSONiaN iNStitutE 2007

Using suggested readings and independant research present the unique innovations presented by contemporary computational design

techniques.

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WEEK 2 23

Figure 1- Smithsonian Institute Interior Roof

Foster and Partners won an international competition in 2004 to create the new roof for the Smithsonian Insti-tute. Foster and Partners explore optimisation in this and many other projects in diverse ways including: The British Museum Great Court (2000) and The Greater London Authority City Hall (2004). Most commonly explored are structural and acoustic optimisation.

Smithsonian InstituteFoster+PartnersWashington DC USA2007

WEEK 224

The Smithsonian Institute was “de-signed to do the most with the least” (Foster+Partners, 2012) Structural and Environmental issues were addressed through optimisation. Many of the structural ideas used in the British Museum Great Court were furthered in the design of the Smithsonian Institute Roof. Geometric pre-rationalisation was used in the same kind of way as the British Museum, creating a “diagrid of fins” (Burry, Mark & Jane, 2011) The grid holds in place glazed panels and cre-ates a structural shell. The rigid shell needs only eight columns to support the entire roof. This is structurally efficient and does not require an excess of mate-rials to be used.

Figure 2- British Museum Great Court RoofFigure 3- Smithsonian Insitiue Roof

WEEK 2 25

Foster and Partners had a computer program specially created for this project by Brady Peters from the Foster and Partners Specialist Modelling Group (Burry, Mark & Jane, 2011). The opportunity for designers to create their own programs allows for new flexibility and control over a design. Very precise functions and constraints can be allocated and applied to a design when a com-puter program is designed specifically for it. Although this may be restricting it is also liberating as individual solutions may be designed for specific problems.

Program design is a completely separate profes-sion hence it would be quite a big ask for designers to design their own computer programs to create the imaginative structures floating around in their heads. Therefore, as per this example, firms can work closely with their own modelling design team. The opportunity is there however for the few adventurous and motivated architects and designers may pursue this field. Either way, the possibilities have expanded exponentially.

Figure 4-Smithsonian Institute Interior Roof

In Architecture in the Digital Age Kolarevic discusses Forster and Partner’s Project, the Main Chamber for the Greater London Au-thority (2002). Kolarevic describes the project as performative architecture a term which seems to be used interchangeably with optimisation, describing the optimisation of building performance. The building was optimised acoustically using acoustic wave propa-gation simulation software (Kolarevic, 2003, pg 26). A more visually obvious application of optimisation is the shape of the building. The “pebble like” shape optimises energy performance by minimis-ing the surface area directly exposed to the sun. (Kolarevic, 2003 pg 26) Analysis of sunlight patterns produced a thermal map of the building which was used to accordingly manipulate cladding. (Foster+Partners, 2012) The result was a building which Foster and Partners themselves describe as “virtually non-polluting.”

Foster and Partners used an optimisation algorithm to create the tri-angulated grid used for the ceiling of the Great Court. This algorithm assisted in the construction of efficient geometries and addressed environmental performance criteria. (Burry, Mark & Jane, 2011)

Digital technology was also of great use in fabrication. The algo-rithm used to define the grid also explored member sizes. Many it-erations were quickly tested against a variety of perfomance issues.

Figure 5- Greater London Authority

Figure 6- British Museum Great Court

WEEK 2 26

Figure 4-Smithsonian Institute Interior Roof

WEEK 2 27

Figure 7

Coop Himmelb(l)au architects won an the international competition to build BMW World in 2001.(Phaidon 2008) The BMW World building was digitally fabricated which allowed for considerable optimisation techniques to be utilised in the design of the structural form and as well as implementation of performance design for features such as light, climate and acoustics.

BMW World Market BuildingCOOP HIMMELB(I)AUMunchen, Germany2007

WEEK 2 28

The design of BMW World was greatly benefited by digital tech-niques of optimisation. Digital technology was used to simulate load forces and other site and context conditions. The resulting impact and load transfer determined the shape and structure of the roof. Thickness and dimensions of materials could also be defined as part of this process. The original competition design was rationalised down from a “forest of columns,” to become a dynamic and open space.(Architecture Week, 2008)

The use of digital technology and documentation in this proj-ect allowed for a close relationship between architectural and engineering design and the ability to continuously test differ-ent environmental and structural conditions.(Architecture Week, 2008) This would have been incredibly useful in the updating and communicating the design possibilities between both fields. The method of optimisation would be useful the Wyndham city Gate Project in many regards, most obviously structural and acoustic optimisation. The freeway location of the Gateway would firstly be a very noisy area and the acoustic manipulation may be taken into account. Secondly, the constant heavy traffic would create strong vibrations through the site. The structural performance needed at this kind site, could be tested quickly through the use of paramet-ric structural optimisation technology.

Figure 8, 9

Optimisation can also be used in terms of aes-thetic and formal qualities, not purely functional and structural. One kind of optimisation is the creation of minimal surfaces meaning a surface has a net curvature of zero. (Burry, Mark & Jane, 2011) Some examples of minimal surfaces are cantenoids, hyperboloid, Hyperbolic paraboloids, helicoids and enneper surfaces. The double cone vortex structure at BMW world looks like a twist-ed cantenoid or hyperboloid. This kind of minimal surface may have been an optimisation consider-ation through out the design process.

Prix’s dream for the building was a “huge unsupported space for architecture, with spaces that “changed like clouds.’” (Architecture Week, 2008) This is quite a nice precedential link to the theme of this studio~ Air, despite the project being relatively old in the digital and parametric fields. This example involves a couple of key aspects of optimisation, which for its time were entirely innovative. The structure is one which people can awe at today, no matter how “old hat” the specific optimisation technology that was used may have become. This gives credibility to the use of digital technology for the Wyndham City Gate project, and comfort to any worry of a digital project going out of date quickly. Even if the techniques used to produce the final product are well surpassed and even made redundant in years to come, it will have marked a stage in a digital dis-course and will become a fascinating land mark for years to come for the digital literate and lay person alike.

Minimal Surfaces

Figure 12 Twisted CantenoidFigure 11 Hyperboloid WEEK 2 29

Figure 10

Optimisation relates quite closely to Kalay’s reading- Architecture’s new media: Principles, Theories, and Meth-ods of Computer Aided Design (2004). Kalay talks of selecting a list of constraints and by applying them they will produce a design. Optimal designs are not directly “designed” for their formal qualities by the designer. Op-timisation techniques require certain parameters to be defined, such as loads and forces; performance require-ments or mathematical functions to define certain optimal forms. Structurally sound, efficient and fascinating structures are produced based on the quality of the design of the constraints. The difficulty with optimisation in design however, it that it is not a starting point. As described in the precedents there is always a greater design concept or form from which a design is generated before the optimisation is later applied, whose purpose is to make the best out of the design intent.

To Kalay design is a purposeful activity which should address a set of goal and result in a state that is better than before. Architectural discourse takes these kinds of goals into account; however discourse takes it a step further. It looks at the stylistic part of the design that is not addressing any functional need but exploring creative and thematic design approaches which focused on the creation of space and ambiance independent of what is actually needed. In order to create a design for the Wyndham City Gateway we will need to look at optimisation in a conceptual way to develop a design idea.

Optimisation can be helpful in the design of the gateyway through: structural optimisation, there will be a lot of vibrations at the site caused by constant passing cars, and wind loads as cars pass by; acoustic optimisation, freeways are extrodinarily noisy places; and materially efficiency. However these applications would only be helpful with a preconceived design concept.

WEEK 2 30

PARAMETRIC MODELLING

WEEK 3 31

W3

32 WEEK 3

Last week we identified difficulties in using Optimisation as our theme be-cause it is not a design generator. Instead it is a technique applied to a design to create the best possible outcome. Therefore this week, to continue explor-ing our theme optimisation we have been looking at the voronoi. The Voronoi is an optimal structure and interesting tool we can learn in grasshopper. In

the journal task I have researched Hyun-Seok Kim’s Voronoi Yacht

GRASSHOPPER: EXLAB TUTORIAL 2

WEEK 3 33

2.1 CREATE BEZIER CURVES FROM REFER-

ENCE GEOMETRY

2.2 REBUILD A CURVE AS A POLYLINE

EXLAB: TUTORIAL 2

5 control points

15 control points

WEEK 3 34

2.3 EXTRACT ISO-CURVESFROM A

SURFACE

2.4 SECTION A SUR-FACE WITH HORIZON-

TAL PLANES

2.5 SECTION A POLY-SURFACE WITH PLANES AT VARIABLE ANGLES

fronttop perspective

WEEK 3 35

2.6 MOVE AN OBJECT USING A SERIES COM-

PONENT

WEEK 3 36

NOTE?????????????????????

????????????

WEEK 3 37

2.6 ORIENT OBJECTS AROUND A CIRCLE

XY PLANE

WEEK 3 38

YZ PLANE

OPTIMISATIONVORONOI

WEEK 3 39

Select one project that expresses contemporaryscripting/programming cultures and defend/ critique the author’s de-

sign philosophy.

WEEK 3 40

WEEK 3 41

Figure 1

Figure 2

Hyun- Seok Kim Won the Millennium Yacht Design Award in 2011: Section B- Dream Boat with his entry ‘Tofi’. Kim is now in the running for the International Yacht and Aviation awards with his design of the Voronoi Yacht. The Awards are hosted by interior design magazine ‘Design et al’ and are judged by the public; industry professionals, customers, clients and readers of design et al. (Design Awards, 2012)

Voronoi YachtHyun-Seok Kim2012

WEEK 3 42

Figure 3-‘Tofi’Winnr of the Millennium

Yacht Design Award in 2011: Section B- Dream Boat

Figure 4

The Voronoi Yacht design com-bines Kolevic’s discussion on boat construction, engineer-ing, nature and design into one boat. Although there are some critics who are sceptical about the buildability of the Yacht, the voronoi structure should be strong and sound. Kaplan describes the voronoi structure simply in Voronoi Diagrams and Ornamental De-sign.

Kaplan explains that a Voronoi is composed of a set of points, each of which are separated by a line which is an equal dis-tance between both points. He concludes that voronoi models growth and spatial divisionand is there for a tool used inn engineering and science. (Ka-plan, 1999)

WEEK 3 43

Voronoi is a naturally occurring pattern which appears across innumerable spheres of the natural world, geography, biology, mathematics (Fujita et al, 2000) ; as well as being useful in medicine, computation and design (Kaplan, 1999). It is actively experimented with in forums for rhino and grasshopper.

Figure 5 Figure 6

Figure 7 Figure 8- Grasshopper Jewelery

Figure 9 Figure 10

WEEK 3 44

Figure 11

Kim wanted to use the voronoi pattern to un-needed solid, creating a “robust structure while using a minimal amount of material.” (Johanssan 2011) He hypothesises that “this voronoi pattern is a way of nature to optimize and stabilize random-ized creatures.” (Design Awards, 2012) I think we would all agree design is a randomised creature, and the our use of computational technologies is a way of us optimising and stabilising our designs.

The conceptual framework section in the Wynd-ham City Gateway Design Project, describes an “intensive relationship between the natural envi-ronments and the activities of human settlement.” Wyndham takes pride in a range of natural, cul-tural, social and historical aspects in their com-munity. The concept of a voronoi pattern links together nature, culture and art.

WEEK 4 45

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RESEARCH PROJECT

WEEK 4 47

W4

PUBLIC ART AND MOTORWAYS

WEEK 4 48

Optimisation is a difficult concept if there is nothing to optimise. Despite the voronoi being an optimal structure our group was still lacking a conceptual background to bring meaning into the design. Therefore we have decided to employ a secondary discourse which willbe a quality we can optimise. The quality we have chosen to explore in our furture experi-ments is transparency.

TRANSPARENCY

WEEK 4 49

The discourse of transparency is depicted by Rowe and Slutzky in their book Trans-parency. They describe transparency as; simultaneity, interpenetration, and ambiv-alence. Transparency is discussed interms of art and architecture by splitting the concept into two categories; Literal transparency, an “inherent quality if substance” (Pg23) and Phenominal transparency, an”inherent quality of organisation.” (pg 23)

Literal Transparency is a commonly explored concept in architecture bec-uase it is quite easy to achieve through transparency in materials. When one tries to apply phenomenal transparency to architecture rather than art, it becomes much more difficult and it is therefore unusual for it to be pursued.

WEEK 4 50

GRASSHOPPER: EXLAB TUTORIAL 3

WEEK 4 51

COMBINING DEFINITIONS FROM

WEEKS 2 AND 3

my attempt at combinging the previeous weeks definitionsnots......dfsdlahfdfhsdkhfsdkhfsdksd-khfksdjhfksdhfkjsdhffkjdsh

WEEK 4 52

EXLAB LECTURE 3

CIRCLE WITH A RANGE OF RADII

CIRCE WITH A RANGE OF RADII AND A RAN-

DOM FUNCTION

MULTIPLE CENTRES AND MULTIPLE RADII USING A POINT AT-

TRACTOR

53

3.1 CREATE A 3D GRID OF POINTS

3.2 MOVE A GRID OF POINTS USING A

MATHEMATICAL FUNC-TION

IMAGE SAMPLER USING SURFACE NORMALS

EXLAB TUTORIAL 3

WEEK 4

WEEK 4 54

3.3 MOVE A GRID OF POINTS USING A GRAPH

3.4MOVE A GRID OF POINTS USING A RANDOM

FUNCTION

3.5 COMPOUND TRANS-FORMATIONS USING AN

ATTRACTOR

VARIATION 1 VARIATION 2

VARIATION 3-LOFTED

VARIATION 1 VARIATION 2

CUT MATRIX

WEEK 4 55

Using the cut definitions provided produce a matirx of combinations. Each parametric model should use a

different combination of inputs, techniques and outputs.

WEEK 4 56

My initial matrix explorations were not focused on our theme of the opti-misation of trans-parency. I initially just wanted to get my head around the definitions, and the sheer amount of possibilities that were possible from seven inputs, seven transformations and four outputs. Sec-ondly, transparency was a tricky concept to grasp in terms of creating optimal transparency with

the matricies.

WEEK 4 57

EXPLORATION OF MATRICES

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MATRICESBY SHENIA LAY

WEEK 4 64

Each group member approached the matrices task in a different way which resulted in a range of variations in our matrices. Our initial approach was to divide up the inputs and focus on a small selection each. We discovered that this was not an effective method because we became stuck and restricted by our allocated lot. We found it much more interesting to explore a range of matrices and select which definitions we preferred to focus on based on our own interests. Shenia found some interesting results intially focusing on boolean, extrude and rotate and ap-plying these to curved surfaces. Beltas on the otherhand maintained 2D surfaces which came in useful when she fabricated a number of examples (which will be shown later). My approach was to generate as many outomces as possible to explore a wide range of what was possible to achieve with the matrix definitions. I took interest in the most diverse outcomes that were created because after a while some of the defintions created with similar inputs or associations began to look the same. This approach uses Kalay’s ‘Breadth First’ approach where many pos-sibilities are brainstormed before a a few options are selected for futher development. At the moment we have not applied Kalay’s selection method which involves picking the best options based on a selection crtieria. At this stage we were focused on the mastery and exploration of the matirx defintions.

MATRICESBY BELTAS JAP

WEEK 5 65

PERFORMANCE DRIVEN ARCHITECTURE

W5

Ths week we had a lecture about Performance based design. Otherwise known as Performance driven, Performative, Performance Oriented, Optimimaly directed design. This lecture related very much to our initial area of study- Optimisation, and gave an outline of how optimisation is dealt with in computational design, and reinforced our need to have a pre-established design concept to them optimise.

From this lecture we learnt there is no such thing as an optimal design- rather an optimally directed design. Optimally directed design often uses what were classified as Evaluative tools and generative tools. At the moment, learning how to use Rhino and grasshopper we are still learning about the basics of the design tools. It would take some more time for me to learn how to use another kind of program again, and therefore our most effective optimisation of a design would be an optimisation of experience, rather than an optimisation of structural or other typically performative qualities that have been optimally driven. This has consollidated our descision to use transparency and a theme which we can optimise.

WEEK 5 66

GRASSHOPPER:EXLAB TUTORIAL 4

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REVERSE ENGINEERED CASE STUDY

WEEK 5 70

Making reference to a chosen case-study project,combine two or more of the provided definitions to

produce an intended architectural effect: texture, layering,gradients, repetition, overlap, camouflage, depth,

speed... Consider and explain how this effect will changewith time.

When creating our reverese engineered case study, it was the first time I could have a really good go at exploring transparent qualities.

To analyse these precedence in terms of trasnparency and how they have optimally achieved an intended effect, they can be divided into three catergories: perforations, directional aper-tures, and layering.

WEEK 5 71

DE YOUNG MUSEUMHERZOG &DE MEURON

RESTAURANT AOBE-TEIHITOSHI ABE

Image sampler performations

WEEK 5 72

ANDRE DE GOUVEIARESIDENCE

VINCENT PARREIRA

DIOR GINZAOFFICEOF KUMIKO INUI

Pattern performations

WEEK 5 73

DIRECTIONAL APERTURES

GANTENBEIN VINEYARD FACADE

GRAMAZIO & KOHLER

MC CORMICK TRIBUNECAMPUS

OMA

WEEK 5 74

LAYERING

BANQ RESTAURANT OFFICE DA

JOHN LEWIS DEPARTMENT STORE

FOREIGN OFFICE ARCHITECTS

Tokyo Airspace reverse engineered case study.

because the tokyo airspace used voronoi, it was very difficult to try and create this in the first place. The voronoi is not really compatible with the matrix definitions and it needed a bit of tweaking to get it working in a usable way.

layering I think was a more flexible option to explore than simply the creation of apertures. As have been shown in these precedence, the creation of perforations and apertures, particularly in conjuction with an image sampler have been used quite a bit in the past. The wyndham breif asks for something that is innovative.To achieve this I think it is more benefical to explore the layering for reverse enginnering because perforations has been done so many time before.

WEEK 5 75

AIRSPACE TOKYO FAULDERS STUDIO

My first step was to figure out how to give thickness to the vor-onoi so that it was not just lines. I did this using offset.

To create the smooth curves present in tokyo air space I then rebuilt the curve which I learnt from the exlab tutorial 1.

The matrix definitions were not relly compatible with the voronoi definition so I struggled through using them to find that in this in-stance they wre harldy any use. However I did use the pattern overly definition from the matir-ices to help create the layered effect of the Tokyo airspace.

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STEP 1

STEP 2

STEP 3

STEP 4

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FINAL FABRICATION TEMPLATES

Whilst working on the reverse engineering I began experimenting with density of the vor-onoi and a gradual opening out of apertures.

The Tokyo airspace reverse engineering and further explorations using the voronoi are fabricated in the next week.

WEEK 5 78

FURTHER EXPERIEMENTATION