sketchbook part b

STUDIO AIR2015, SEMESTER 1, TUTORSSTUDENT NAME

Table of Contents

WEEK OUTLINE

1 LOFT, OCTREE, VORONOI 3D

2 BOX MORPH, SMOOTH MESH

3 VORONOI

4 FRACTAL GEOMETRY, BIOMIMETIC ARCHITECTURE, EVALUATING FIELDS

5 FIELDS, IMAGE SAMPLING, GRAPH MAPPER

6 CLUSTERED SCRIPT REPETITION

01DAVIS WATTS 587617STUDIO AIRALGORITHMIC SKETCHBOOK

LOFTING BETWEEN TWO CURVES WAS A VERY SIMPLE TASK THAT I HAD DONE MANY TIMES IN RHINO BY ITSELF, YET WITH THE ADDITION OF GRASSHOPPER WAS A LOT MORE USEFUL WHEN WANTING TO MOVE THE ORIGINAL CURVE OR CHANGE CONTROL POINTS AS THE LOFT WOULD MOVE WITH IS. THESE FORMS ARE VERY SIMPLE AS IT ONLY HAS TO PASS FROM ON CURVE TO ANOTHER.

LOFTING BETWEEN THREE CURVES ALLOW A MORE COMPLEX FORM AS THE LOFT NOW HAD TO PASS THROUGH THREE SEPARATE CURVES. FOR THESE SWEEPS I ATTEMPTED BY IMPLEMENTING A STRAIGHT POLY LINE AND 2 ROUNDED CURVES TO MOVE BETWEEN. THIS WAS ALSO AMPLIFIED WHEN I CHANGED THE LOFT TO THE TIGHT OPTION WHICH GAVE MORE DEFINED SURFACES. I ALSO PLAYED AROUND WITH CLOSED CURVES TO CREATE A FULL LOOP.

LOFTING BETWEEN FOUR CURVES ALLOWED FOR A GREATER VARIATION BETWEEN ALL THE OUTCOMES, THIS IS DUE TO ALL THE SEPARATE ARRAYS THE LOFT HAS TO TRAVEL THROUGH. THIS PRODUCES GREATER DEGREES OF TWIST AND TURNS AND STEMS GREATER INTO SOMETHING WE COULD CONSIDER AS FUTURISTIC STRUCTURES DUE TO ITS FREE FLOWING FORMS.

02 DAVIS WATTS 587617STUDIO AIRALGORITHMIC SKETCHBOOK

BY USING AN ORIGINAL MESH CONSTRUCTED IN RHINO THROUGH BOOLEAN INTERSECTIONS, UNION ETC. THESE BLOB LIKE OBJECTS WERE CREATED THROUGH USING THE SMOOTH MESH TOOL. THIS WAS A GREAT TOOL AS IT ALLOWED ALL EDGES TO BE WELDED TOGETHER INTO A SOLID WHOLE BEFORE BEING RELAXED AROUND THE EDGES OF ITS ORIGINAL SURFACE TO CREATE THESE SMOOTH SURFACES.

USING THIS SMOOTHED MESH AND BREAKING IT DOWN INTO ITS SEGMENTS THROUGH THE DECONSTRUCTION OF THE BREP ALLOWED ME TO CONTINUE ALTERING THIS FORM THROUGH THE USE OF ITS POINTS. THIS WAS DONE THROUGH THE TRIANGULATION MESH TOOLS THAT TOOK THE BOUNDING POINTS AN USED THEIR PARAMETERS TO PRODUCE DOME GREAT OUTCOMES SHOWN.


THIS BASIC COMMAND OF CREATING A VORONOI ALLOWS A RANDOM, VISUALLY PLEASING OUTCOME THAT CREATES WELL DEFINED SPACES WITHIN. THIS BOOK SHELF SIMPLY TOOK THE ORIGINAL BOOK SHELF, MOVED IT, AND CREATED A WELL DEFINED SURFACE THROUGH THESE TWO PLANES. I DON T HOWEVER LIKE THE SOLID STRAIGHT NATURE OF THIS SHELF AND THAT’S WHY I HAVE GONE ON TO EXPRESS MORE FREE FLOWING AND OPEN STRUCTURES AHEAD.

A DEFINITION THAT TURNED OUT TO BE SO MUCH HARDER THAN ORIGINALLY INTENDED STARTED WITH THE PAST BOOK SHELVES VORONOI STRUCTURE, AND RELAXED THE CURVES INTO AN ELLIPTICAL NATURE, FROM HERE THE OUTCOME WAS DUPLICATED TO ALLOW THE VORONOI CELLS TO CUT AWAY THE BOUNDING BOX, LEAVING THE OPENINGS IN THE SHELF. THIS OUTCOME HOWEVER WAS GREAT AND I AM VERY PLEASED WITH THE ORGANIC SHAPES PRODUCED. IF PRESSED FURTHER I WOULD BE INTERESTED TO EXPLORE HAVING VORONOI CELLS AS THE EDGE OF THE BOOK SHELF, INSTEAD OF THE STRAIGHT CUT OFF BOUNDING BOX.

THIS BOOK SHELF WAS CREATED THROUGH THE DECONSTRUCTION OF A VORONOI AND OFFSETTING THE EDGES IN. THIS OFFSET EDGES FORMED THE BASSES OF THE SHELF, WITH THE POINTS FROM TO THE DECONSTRUCTION FORMING THE CONNECTORS THROUGH RANDOM SIZED SPHERES. A PROBLEM OCCURRED WAS THE EDGES ON THE PERIMETER AS THEY WOULDN’T OFFSET HENCE THE SINGLE RODS THERE. THIS OUTCOME WAS REALLY FUN TO MAKE AND REALLY FELT CHALLENGED IN THE LENGTH ON THE SCRIPT.


THE FOLLOWING OUTCOMES REVOLVED AROUND THE FRACTAL GEOMETRY SCRIPTING THAT ALLOWED THE EASY FORMATION OF A TETRAHEDRA THROUGH DIVIDING A PYRAMID UP AND USING SCALED TRIMMERS TO CUT OFF THE TOPS TO PROVIDE THE OUTCOME. THE REASON I SAY EASY IS BECAUSE I TRIED THE SAME OUTCOME THROUGH JUST USE OF RHINO AND IT WAS SO DIFFICULT AS I KEPT GOING WRONG.THE ACTUAL OUTCOMES HAVE TAKEN THE ORIGINAL OBJECTS AND ARRAYED OR ORIENTATED THEM IN RHINO TO CREATE MORE DYNAMIC EFFECTS THAN OTHERWISE.

ABOVEINSPIRED BY AN OUTCOME I FOUND ONLINE, I ATTEMPTED TO RECREATE THIS BY INCREASING THE AMOUNT OF SIDES ON THE FRACTAL GEOMETRY AND BAKING IT OUT TO COPY AND ORIENT VARYING SIZES TO FINALLY BE PRESENTED WITH THE FINAL OUTCOME.

RIGHTTHIS OUTCOME HOWEVER WAS NOT THE INFLUENCE OF RHINO, AND INSTEAD ARRAYED ITSELF ALONG A CURVE IN GRASSHOPPER THAT WAS THE RESULT OF THE

THE FIRST ALTERATION MADE TO THE TREE SCRIPT WAS DIVIDING THE MOVED CIRCLE FURTHER AND FINDING THESE POINTS TO CREATE A NEW ARC BETWEEN THE EXISTING AND NEW POINTS, ALLOWING 2 SETS OF TREE BRANCHES. THIS ALTERATION WAS RELATIVELY EASY BUT TOOK A LOT OF THOUGHT AT THE START ON HOW TO CARRY IT OUT.

THIS SECOND ALTERATION TURNED OUT TO BE A LOT HARDER THEN I THOUGHT, I HAD THE IMAGE IN MY MIND OF WHAT I WANTED TO DO YET NOTHING SEEMED TO ACHIEVE THAT UNTIL FINALLY BY DE-CONSTRUCTING THE PIPE BREP TO FIND ITS END LOCATION TO MOVE A SCALED VERSION HERE BY CONNECTING THIS MOVE TO PAST PARAMETERS.

AS A FINAL OUTCOME I CONSTRUCTED A 3X3 GRID TO ARRAY THE TREE’S OVER. ALL ELEMENTS OF THE TREE HAD TO BE MOVED OVER THE GRID AND ENCOMPASS THE SAME MOVEMENTS TO ALIGN UP. THIS PROVIDED A LIFE LIKE TRUSS SYSTEM THAT HELD UP A RHINO MODIFIED ROOFING STRUCTURE TO CREATE A SENSE OF SPACE BELOW.

EVALUATING FIELDS ALLOWED POINT OR LINE CHARGES DO DIRECT THE FLOW OF MOTION TO OR AWAY FROM THESE OBJECTS. PLANNED OUT ON A SURFACE, THESE IMAGES SHOW THE COLOUR REPRESENTATION OF THE FIELDS, WITH THE PUSHING AWAY OF THE COLOURS FROM THE CHARGES. THESE CHARGES COULD HENCE BE POSITIVE OR NEGATIVE TO REPEAL OR ATTRACT TO THE CHARGES.


ABOVEPOINT CHARGES WERE USED BY DIVIDING UP CURVES AND LOCATING CHARGES AROUND THESE POINTS IN A CIRCULAR FORMAT TO THEN EXTRACT OUT IN THE MANNERS SHOWN. THESE OUTCOMES ARE GREAT AS THEY GIVE COMPLETE NATURAL FORMATIONS THAT REALLY GIVE A SENSE OF A STRUCTURE THAT HAS LIFE BEHIND IT.

BELOWADDING A ROTATION TO THE FIELD SCRIPT ALLOWED THE CREATION OF A RADIAL FORM, STILL USING THE SAME BASIC COMPONENTS AS BEFORE. THIS OUTCOME ALLOWED A CONDENSED CORE THAT FLARED OUT INTO WIDE OPENINGS

ABOVETHIS GREAT OUTCOME WAS PRODUCED THROUGH USING THE MERGER FIELD COMPONENT, BY ALLOWING MORE POINT CHARGES TO BE INTRODUCED TO THE EQUATION THAT WOULD ULTIMATELY PUSH THE LINES AWAY FROM THEM SO CREATE THE WIDE OPENING GAPS SHOWN.

BOTH OF THESE OUTCOMES USED THE IMAGE SAMPLING COMPONENTS TO MAP OBJECTS ONTO A SURFACE SPACE, DETERMINED BY THE BLACK AND WHITE APERTURE OF THE INPUT IMAGES. THE GREATER DEFINITION IN A WHITE PIXEL WOULD CREATE A LARGER OBJECT, AND BLACK CREATING SMALLER ONES.

THIS OUTCOME EXPRESSED I FOUND TO BE SUCH A DYNAMIC RESULT FROM THE ORIGIONAL IMAGE. OUTCOMES LIKE THIS CAN RELATE DIRECTLY TO A SET BRIEF BY TAKING PICTURES OF OBJECTS AT SITES AND CREATES VISUAL EFFECTS TO STEM FROM. THIS IS AN IDEA I DEFINITELY WANT TO CARRY FORWARD INTO SUCH DESIGN GENERATION IN THE FUTURE.

LEFTUSING THE SAME SURFACE AS ABOVE, THIS OUTCOME HOWEVER HAD A ROTATION ELEMENT ADDED TO ITS SCRIPT TO CREATE CIRCULAR MOTIONS AROUND THE TERRAIN. THIS OUTCOME PROVIDED MORE OF A LANDSCAPE APPEAL TO IT THEN ABOVE AND WOULD CREATE INTERESTING CONTOURING IF DESIRED.

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RIGHTTHIS GRADIENT DESCENT WAS FORMED FROM TAKING AN INITIAL SURFACE FROM RHINO THAT HAD BEEN REBUILT TO FORM AN INTERESTING LANDSCAPE. THIS PATTERN WAS FORMED THROUGH MOVING POINTS FROM A SURFACE BY APPLYING GRAVITY TO IT, TO A SPECIFIC LOCATION, FORMING A LINE THROUGH THESE POINTS AND SNAPPING THAT LINE BACK ONTO THE SURFACE.

LEFTUSING THE SAME SURFACE AS ABOVE, THIS OUTCOME HOWEVER HAD A ROTATION ELEMENT ADDED TO ITS SCRIPT TO CREATE CIRCULAR MOTIONS AROUND THE TERRAIN. THIS OUTCOME PROVIDED MORE OF A LANDSCAPE APPEAL TO IT THEN ABOVE AND WOULD CREATE INTERESTING CONTOURING IF DESIRED.

RIGHTTHIS OUTCOME USED THE EXACT SAME SCRIPT AS LEFT, YET I USED A DIFFERENT SURFACE, WITH MORE REBUILT POINTS, AND HIGHER AND LOWER ELEVATIONS TO GIVE A MORE VARIED EFFECT BETWEEN LINES.

THE FOLLOWING WEEKS TASKS INTRODUCED THE CONCEPT OF CLUSTERING SCRIPTS INTO A SINGLE DEFINITION TO CREATE REPETITIONS IN A DEFINITION TO NOT MAKE IT TO BULKY ON THE CANVAS. A GREAT TECHNIQUE TO SAVE TIME AND PRODUCE BETTER OUTOMES AS IT IS EASIER TO PUSH A DEFINITION FURTHER.

DAVIS WATTS 587617STUDIO AIRALGORITHMIC SKETCHBOOK

BELOWTHIS BASIC FRACTAL PATTERN WAS CONCEIVED FROM 2 SIMPLE CURVES USING ITS TANGENT TO THEN ORIENT AND SCALE. THE ABILITY TO CREATE SMALLER REITERATIONS OFF THE BRANCHES OF EACH OTHER REALLY CREATE A TREE LIKE STRUCTURE. THIS PATTERN TURNED OUT NOT VERY VISUALLY PLEASING DUE TO ITS CURVING RANDOM NATURE.

RIGHTUSING THE SAME CLUSTERS AS ABOVE, USING INSTEAD STRAIGHT LINES THIS TIME TO CREATE A MORE DYNAMIC OUTCOME. FROM THIS IMAGE I CAN ALREADY SEE THE POTENTIAL SO SPACES BEING FORMED WITHIN AND HOW ELEMENTS WOULD CONNECT, THIS IS DEFINITELY A COMMAND I WOULD CONSIDER USING IN THE FUTURE.

ABOVEFRACTAL PATTERN THAT DUPLICATES ITS FORM WITH EVERY REITERATION BASED ON THE HEIGHT OF SPECIFIC POINTS ON THE CURVE DIRECTLY BELOW IT. THIS SMOOTH NATURE IS PRESENT DUE TO SMALL AMOUNTS OF DIVIDING POINTS, YET WHEN INCREASED WILL PROVIDE A ROUGH, LUMPY SURFACE. I REALLY ENJOY THE PROTRUDING OUT NATURE OF THE CURVES AND THE CONTINUAL PERIODIC NATURE.

LEFTTHIS DEMONSTRATION ALLOWS THE SCRIPT TO CONTINUE FOR AS LONG AS THE REQUIREMENTS OF THE DEFINITION ARE STILL MET, THAT BEING IT MUST REMAIN WITHIN A CERTAIN DISTANCE FROM A SET OF PROTRACTOR CURVES. THIS IS A GREAT DEFINITION TO CREATE RELATIONSHIPS BETWEEN ELEMENTS AND CREATE MEANINGS TO A DESIGN, SO THAT THE DESIGN ALWAYS STAYS TRUE TO YOUR INTENT. AT FIRST I GOT THE IMPRESSION THIS SCRIPT WOULD TURN OUT LIKE OCTREE, YET IT WAS NOT AS THE SIZES OF THE BOXES VARIED ACCORDING TO THE SCALE FACTOR AND MOVED AND CULLED ACCORDING TO THE REQUIREMENTS OF THE CURVE.

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