Ng naomi algorithmic sketchbook

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V A S E S

VASE 01MESH TRIAGULATION & REDUCING POLYGONS

Turning curved surfaces into triangulated mesh and reducing the polygons can simplify surfaces to create a simple, geometric

formation. Although this form does not follow the exact panels of the reference vase, the random index selection tool allows

me to generate an array of outputs, all in which are different.

4 CONCEPTUALISATION

DIVIDE SURFACE & LOFT

VASE 02highly curvilinear surfaces could be created

with lofting surfaces and manipulating curves that were used to create the lofted surface.

CONCEPTUALISATION 5

VASE 03POINT TO PROFILE, LOFT & TWIST

cross section profiles were divided into nodes before connected and twisted together to

form a organic shape. Depending on where the cross sections are placed, (as well as

scale and other variables), the formation of the vase could look immensly different.

6 CONCEPTUALISATION

VASE 04DIVIDE & SWEEP 2

Similar to lofting, curves were divided and sweep 2 was used to create this form.

The inputs were modified and iterated to more accurately mimic this shape.

CONCEPTUALISATION 7

VASE 05VORONOI, PIPE AND SOLID DIFFERENCE

I experimented with the vornoi component to create a very interesting and

complex, 'framed' tectonic forms.

8 CONCEPTUALISATION

CONCEPTUALISATION 9

10 CONCEPTUALISATION

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N A T U R A L

T E X T U R E S

F I S H

S C A L E S[ ]CONCEPTUALISATION 11

DATA TREES

UNMODIFIED LISTS GRAFTED INDEX ITEM - LIST


CONCEPTUALISATION 13

METHOD 01BOUNDING BOX

TARGET TEXTURE- FISH SCALE GRASHOPPER SCRIPT

The bounding box method allows the initial geometry to stretch along the surface. Hence, each surface may have controlled variables (such as rotation angle and shape) but scale and stretch may differ.


SURFACE BOUNDING BOX MORPH GEOMETRY INTO BOX


geometry must be aligned to the planes that were divided from a surface. Hence, only the base point/line of the geometry will follow the surface. this allows geometry to fit tightly to the surface, but causes gaps to incur between each module. In order to imitate the overlapping texture of fish scale, the surface had to be copied and moved.

SURFACE DIVIDED POINTS ON SRF GRID FROM POINTS PLANES GROM GRID GEOMETRY ON PLANES

GRASHOPPER SCRIPT 16 CONCEPTUALISATION

METHOD 02PLANE AND ORIENT

i personally prefer the panelling tools method most as it has highest flexibility, retaining cohesive patternation (such as orientation and plane) while gradiating in different properties (such as length, and rotation). However, while this method enables to transform from one shape to another (even if it is a completely different form), a drawback is the need to copy and alternate each component as separate solids before morphing them on a pointed surface.

SURFACE

1ST GRID

1ST & 2ND GRID

MANUAL ITERATION OF GEOMETRY

GRADIAL GEOMETRY ON SURFACE


METHOD 03PANELLING TOOLS

1ST GRID

1ST & 2ND GRID

MANUAL ITERATION OF GEOMETRY

GRADIAL GEOMETRY ON SURFACE GRASHOPPER SCRIPT



Following exlab's tutorial, i tried to replicate the AA driftwood pavilion by intersecting offsetted surfaces with original brep, and trimming them off by culling inters that were beyong the input geometry. This produces curved contours.

AA DRIFTWOOD PAVILIOIN

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A C E S


unlike the AA driftwood pavilion activity, contouring follows a vector line, and in this case, a linear line on the x axis. the way the distance between contours could be manipulated creates very dynamic and customized forms.

M E T HOD 01CONTOURING

DRAW CURVES LOFT GEODESIC SHIFTING POINTS 2WAY GEODESIC

SMARTGEOMETRY 2012 GRIDSHELL GRASSHOPPER SCRIPT


G R I D S H E L L & P A T T E R I N G L I S T S

having followed exlab's video tutorial, I attempted to re-create the smart geometry 2012 gridshell, with two interweaving geodesic curves by shifting divided points on curves.

various 2D patterns were generated

utilizing two special components: voronoi and delauney. These

2d patterns were then projected

onto the surface of the precreated smart geometry 2012 gridshell.

PROJECTING PATTERN ON GRIDSHELL

2D PATTERNS

VARIATING VERTICIES


V O R O N O I - 0 1 V O R O N O I - 0 2 D E L A U N E Y - 0 1 D E L A U N E Y - 0 2

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I M A G E - S A M P L I N G

H I T O S H I

A B E


UNROLLING GEOMETRY

Having sampled an image on a 2D surface through the image sampling component during tutorial, I attempted to recreate the essence of Hitoshi Abe's 'soft wall' by projecting the image samples onto a brep surface.

GEOMETRY FROM RHINO

EVALUATING EDGE POINTS

DIVIDING AND CULLING POINTS ON UNROLLED GEOMETRY

FINDING NORMALS

APPLY IMAGE TO SURFACE

REPLACE WITH CUSTOM RADIUS

IMAGE SAMPLING ON BREP SCRIPT

2D IMAGE SAMPLING SCRIPT

The 'equalise' component as shown in the video did not run as expected. Hence, I used 'smaller than 0.0004' component (parameter of a number really close to 0) to cull points that were overlapping.


GEOMETRY FROM RHINO

IMAGE PROJECTED ONTO BREP

IMAGE USED FOR SAMPLING CIRCLES EXTRUDED ACCORDING TO RADIUS

G R A P H

M A P P E R


The graph mapper creates a wide range of inputs that patternate in dynamic ways. Iterating the graph typology, the graph frequency and graph bounds alone create individualized geometries that could be static or potentially kinetic or contain movement.

GRAPH MAPPING SCRIPT

moving graphs create and almost 'wave'-like effect.

A T T R A CT O R

P O I N T S

F I E L D

L I N E S


ATTRACTOR POINTS AND FIELD LINES

DIVIDING PLANAR SURFACE INTO POINTS AND GRIDS

SHOWING MERGED FIELD LINES AND CHARGE OF ATTRACTOR POINTS

FINAL CHARGED FIELD LINES

As attractor points mimic magnetic fields which allow attraction or repelling forces, it enables organic patternation on surfaces. As attractor points could also perform among 3D spaces, there is a high potential to generate new spatial experiences within a volume.

S E L F R E P E A T I N G G E O M E T R Y & T E T R A H E D R A


BASIC TETRAHEDRA GEOMETRY

SMALLER TETRAHEDRAS FITTED INTO ONE MODULE

NEGATIVES SPACES

NEGATIVE AND POSITIVE HYBRID

S E L F R E P E A T I N G G E O M E T R Y & T E T R A H E D R A


Imitating the works of Aranda Larsch, repeated geometries (in this case, tetrahedras) were created and oriented in a way that becomes a repeated, almost evolving creature which twists and warps. Through patterning and repeated steps, interesting geometries begin to form, resulting in a magnitude of interesting compositions.

TETRAHEDRA SCRIPT

ARANDA LARSCH'S RULES OF SIX, MOMA INSTALLATION


As I explored the notion of metaballs for Case study 2.0, I looked at various ways which would most efficiently and accurately represent my case study. In addition, I strived to create and iterate scripts in a way that would allow for highly customized parameters. This is to provide enough scope for experimentation in section B4.

CHANGING HOW MUCH THE 'BLOB' MERGES TOGETHER BY MODIFYING THRESHOLD VALUE

METABALL ATTEMPT #1

WHAT ARE THE POTENTIALS?There are two main advantages of this method. Firstly, the metaballs stop at the xy plane, enabling it to be flat on the surface; when flipped, it could be flatly aligned to the ceiling. This is the finishing effect of the Inspiration cloud by Tara Donovan. Secondly, not only could the threshold be iterated, the vector could also be modified in a way that moves each individual point in any axis, x y or z. This makes the geometry highly customizable.

WHY WAS THE METHOD ABANDONED?Unfortunately, using the metaball component merely provides curves and points and not a surface. In order to orient 'cup' geometry to the metaballs, I would need a surface, which wasn't available with this method. Furthermore, it only achieves curves in one axis which doesn't provoke a sense of mass.

M E T A B A L L # 1

M E T A B A L L F R O M S E R I E S


WHAT ARE THE POTENTIALS?There are two main advantages of this method. Firstly, the metaballs stop at the xy plane, enabling it to be flat on the surface; when flipped, it could be flatly aligned to the ceiling. This is the finishing effect of the Inspiration cloud by Tara Donovan. Secondly, not only could the threshold be iterated, the vector could also be modified in a way that moves each individual point in any axis, x y or z. This makes the geometry highly customizable.

WHY WAS THE METHOD ABANDONED?Unfortunately, using the metaball component merely provides curves and points and not a surface. In order to orient 'cup' geometry to the metaballs, I would need a surface, which wasn't available with this method. Furthermore, it only achieves curves in one axis which doesn't provoke a sense of mass.

M E T A B A L L # 2

A X I S

M E T A B A L L

G R I D

M E R G E

METABALL ATTEMPT #2

ALTERING THRESHOLD OF MULTIPLE METABALLS WITH GURVES GOING THROUGH TWO AXIS.


Unlike the previous method, this approach finds curves along 2 axis of the metaballs before merging them together into forming a gridded geometry.

WHAT ARE THE POTENTIALS?As the final geometry is composed of two metaball components, the simple script is less heavy yet produces similar output as the other two methods. Location and threshold of each 'blob' could also be customized, where location is altered in rhino and threshold in grasshopper.

WHY WAS THE METHOD ABANDONED?similarly to the previous script, it provides effective curves and points, but fails to create a surface. Furthermore, it does not cut flat on any side. This, however, could be solved by strategically modifying the bounding box.

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POINTS ON SQUARE GRID MORPHED BY 2 ATTRACTOR PTS

SURFACE THROUGH PTS RECTANGLE VB SCRIPT(TURNS GRID INTO INDIVIDUAL RECTANGLES ONS SURFACE W CENTRE PTS)

SCALED DOWN RECTANGLES

GRASSHOPPER DEFINITION (WITH SQUAREGRID VB SCRIPT)

WHEN A SCATTER OF POINTS, COULD CREATE RICH CURVES


A T T R A C T O R

P O I N T

A N D

F I E L D

P O I N T S

SCALED DOWN RECTANGLES LOFTED RECTANGLES BETWEEN PLANAR AND CURVILINEAR SURFACE

EMBEDDING TECHTONICS: GRID SPREADING THROUGH ATTRACTOR POINT AND FIELD PULL

SQUARE GRID SPREAD WITH CHARGED POINTS EXTRUDED ACCORDING TO

DISTANCE TO POINTS

EACH GRID AS SEPARATE DIAMOND GEOMETRIES


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R A T I O N

VARIATION 01 RANDOM POINTS

VARIATION 02 RANDOM POINTS

VARIATION 03 POINTS TO EDGE

VARIATIONS PLAN


F I E L D

C H A R G E

IN

B O U N

D I N G

B O X


ORIGINAL, ALREADY HAS GRADIENT INCREASED PLANE NUMBER, INCREASED GRADIENT

WEAVERBIRD STALETTE (IF PANELS TO BE OPENED)

WEAVERBIRD CATMULL CLARK

DIAGONAL PANELS


W E A

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B I R D

C O M P O

N E N T S


i examined the very fundemental planarization of the meshed metaballs for part C development, striving to achieve gradience within the fabrication process. Hence, i Decided to investigate the iteraction of scale and geometry to see which would be more suitable for our design devleopment. Unlike the iterations i looked at in B5 matrix, I all components are from the weaverbird plugin as well as kangaroo mesh plugin,

R I V E R

W A S T E

K A N G A R O O

S I M U L

A T I O N

1 2 3 4


Using very basic unary forces in Kangaroo, I attempted to mimick the flow of waste in our specific selected site. As water flows from North west to South East, the waste drifts under the bridge. However, at the current stage, the simulation is merely in plan, without considering the river bends and high/low water levels. Hence, this is something i seek to investigate in the next stage. This simulation allows us to more realistically see how our design will react to real world forces on site.

1 2 3 4


REST LENGTH FACTOR 1.0





mesh relaxed panels created through kangaroo was boxmorphed into the metaball mesh panels. While the stiffness and resistance factor could be modified, because it is box morphed, it could only be constant throughout the whole geometry; hence, it is not suitable for our gradiating definition.

K A N G A R O O

M E S H

R E L A X A T I O N

I N

M E T A B A L L


GR ADATUREI N M E T A B A L LV I AAT T R AC TO RC U R V E


ATTRACTOR CURVE NEAR BALL

ATTRACTOR CURVE NEAR BLOB

ATTRACTOR CURVE WITHIN CLOUD

GRASSHOPPER SCRIPT DEFINITIONCONCEPTUALISATION 55

as kangaroo mesh surfaces could not be unrolled and fabricated, this method of drawing arcs and manipulating the curvature by moving mid point and interpolating is used instead. This creates a very smooth gradiance of panels according to proximity to curve. It is imperfect, however, as panels tend to fill in negative space when too far from the attractor curve. However, it does create very interesting patterns.

Ng naomi algorithmic sketchbook

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