Archive for January, 2010
Museum Facade Laser Cutter Files
Hi everyone.
Attached here are the 1/8″=1′ museum facade files ready to be laser cut. Each group can truncate the facades based on where they are cutting the section.
-Duncan
AAM Rhino Model
Hey y’all-
So, the Rhino model is finally ready for lasercutting. The zipped file is too big (18mb) to upload here on this website, so get it from our Box.net folder or off of sendspace:
http://www.box.net/shared/c045s3f0az
http://www.sendspace.com/file/n5aciq
Some notes on the Rhino model:
-IT WAS BUILT FROM THE BUILDING’S PLANS, NOT FROM THE SITE PLAN WE ARE USING TO CUT THE MODELS. IT NEEDS TO BE TWEAKED TO FIT (EITHER IN RHINO OR ILLUSTRATOR, ETC) BEFORE YOU LASER CUT ANYTHING OFF IT.
-If you want the plans and sections to remain as PictureFrames in the model, you need to keep them together in the same folder (all of them are included in the download)
-It is built from the plans proposed, not as built drawings. Therefore, there may be some discrepancies. On the other hand, you can also see what never got built (like the theater).
-The interior is mostly unbuilt, but I have already traced the plans and included the sections in the model, should you choose to build it out.
Sorry that it took me so long to finish this, but it quickly became more complex than I thought. I hope that it will save you all some time later, sorry for the squeeze now on laser cutting. Maybe someone can tweak it tomorrow morning while we’re cutting all the other buildings? If you have any questions, shoot me an email (patrick.herald@gmail.com) or call me if it’s an emergency (415 577 9843). I will be at school starting around mid-day.
p
More examples of Filipino weaving patterns
Excerpt taken from http://www.tribo.org/textiles/index2.html
Various regions of the Philippines are known for intricately woven materials, ranging from the pinya cloth, a sheer fabric made of fibers of the leaf of the pineapple plant, as woven in my home province of Aklan, to colorful tapestries and waist cloths of different tribes handloomed from decidedly Western materials of mercerized cotton threads.
Philippines Cloth Patterns
These images are of patterns found on woven cloth, wardrobe, pottery, and traditional/tribal banners found in the Philippine Islands. 
Karakusa
About twelve hundred years ago the patterns known as arabesque (in Japanese, karakusa) began arriving in Japan via the Spice Route. They came from lands far to the west — Persia, India, Greece, Egypt, Arabia — and mostly represented flower and plant forms. The Japanese used the patterns on their clothing, bedding, wrapping fabrics and ceramics.
Scholarly papers [PDF] have been dedicated to the ingenious ways these patterns can be generated and made to interlock and repeat — the fractal geometries of form.
Forest Pavilion Panel
This is a panel / pattern defined in grasshopper. Here is a link to the discussion / instructions on how it is done.
http://www.grasshopper3d.com/photo/forest-pavilioncovering
Abalos Undae Dune Field
The Abalos Undae dune field stretches westward, away from a portion (Abalos Colles) of the ice-rich north polar layered deposits that is separated from the main Planum Boreum dome by two large chasms. These dunes are special because their sands may have been derived from erosion of the Rupes Tenuis unit (the lowest stratigraphic unit in Planum Boreum, beneath the icier layers) during formation of the chasms. Some researches have argued that these chasms were formed partially by melting of the polar ice.
The enhanced color data illuminate differences in composition. The dunes appear blueish because of their basaltic composition, while the reddish-white areas are probably covered in dust. Upon close inspection, tiny ripples and grooves are visible on the surface of the dunes; these features are formed by wind action, as are the dunes themselves.
It is possible that the dunes are no longer migrating (the process of dune formation forces dunes to move in the direction of the main winds) and that the tiny ripples are the only active parts of the dunes today.
Repulsive sine wave
Formal emergence began through an exploration of repulsion lines generated by Processing through mouse tracking. The processing command was used as a disruption current through a typical Sine wave surface. The skewed Sine curves were then lofted both individually and as a whole, revealing two surfaces which pierce through one another. To emphasize their visibility, the two surfaces were tooled in rough perpendicular finishes.
The opposing side uses the same construction lines but is attached perpendicular to the previous. Their depth is determined by its interaction with the original pattern and is shown through a flow line finish. We found the flow line finish, much like swarfing, to be largely determined by curves control points rather than its surface.
Permalink: http://soarch.org/48532/
Elastic Plastic Sponge (Sci-Arc studio)
Elastic Plastic Sponge
The Elastic Plastic Sponge was created by students from the Southern California Institute of Architecture (SCI-Arc) led by Benjamin Ball, Gaston Nogues and Andrew Lyon of the Ball-Nogues Studio. The Elastic Plastic Sponge is a large scale installation and can be twisted, arched and curled to form different types of space including a lounge, a theater, or a large sculptural Mobius strip. In the desert heat of Indio, the architectural installation will provide a respite from the sun by making shade and mist while at night, each “cell” within the Elastic Plastic Sponge supports a fluorescent tube–the tubes shift in orientation relative to each other to create the effect of sweeping motion. The motion effect is evident from close-up as well as impactful from across the vast festival grounds–an important asset in an environment of throngs of festival-goers and competing spectacles.
The Elastic Plastic Sponge is a unique structure. In architecture terminology, the phrase that describes a system whose form is derived from its material properties is “form active.” These types of structures are difficult to study using software. They often require architects to explore their designs by testing full-scale mock-ups, and using that empirical information to help inform the process of digital modeling, which is studied in the studio rather than in the field.
The Elastic Plastic Sponge is comprised of 250 cells, each fabricated using custom jigs designed by SCI-Arc students. The cell module is a very effective way of constructing a temporary structure: each can be transported as a flat unit to the Festival and rapidly assembled on site.
From the Festival’s standpoint of an event spanning several days, the Elastic Plastic Sponge can be rapidly reconfigured to create unique spatial arrangements; its flexibility allows the designers to adapt to changing crowd, climate and site conditions. From a pedagogical standpoint, the Elastic Plastic Sponge’s mutability enabled students to examine its unique structure at full scale; working and reworking its shape as they would a digital model.
AD Nov/Dec 2009 Patterns of Architecture
A sampling of pattern study projects and bio-mimicry from the issue- too much to load up the whole magazine, but its back in the library Thurs sometime. The photomicrograph of Tungsten is especially wild, reminds me of some of the patterns in bio-luminescent algae.
Lace
“Lace” by Antonio Citterio with Kerakoll Design
This temporary structure at Milan’s 2008 Green Energy Design Show is comprised of 160 hexagonal tiles, each measuring 150 x 130 cm which are fitted over an ultralight frame. Citterio designed the space as a permeable membrane that would strike a discourse between the outside and the inside. The tessellation creates a lace like pattern that is striking. It is interesting to note that the tiles were treated with a solvent free, V.O.C. free resin, a product that Kerakoll offers.
Logarithmic Spiraling Geometry
Found in “Performative Architecture-Beyond Instrumentality” edited by Branko Kolarevic and Ali M. Malkawi
Breakdown of a Pattern
Description of the logic found in an Islamic Pattern. Found in “Pattern in Islamic Art” by David Wade
Architectural Association’s 2004 Unit 4 Studio
From Architectural Association’s 2004 Unit 4 studio, this project focused on analyzing biological systems and then turning the investigations into an architectural skin.
Gallery Map (from Visitor’s Guide)
This is the brochure from the front desk showing all the galleries and their subject matter. I am using this to approximate the 3rd floor (no plans).
p
Site Plans
Here are a couple links to both versions of the Rhino site model….
Site model scaled 1_1.3dm
Site model scaled 1_32.3dm
Site Analysis Montages
Here’s a link to some montages I made from our site visit. I am very
http://www.flickr.com/photos/38270308@N08/
-josh
The Planter Brick
The planter brick wall is designed to be a combination of traditional masonry units combined with units that can hold plants and vegetation. The planter bricks have the potential to counter the heat island effect in big cities through evapotranspiration and pollution conversion and by the light, reflective color of the bricks. Additionally, edible plants such as rosemary and other fragrant herbs with shallow root systems may be planted in the bricks and accessed through openings in the wall. The plants in the bricks will help mediate the temperature of the microclimate surrounding the building, buffer sound and filter the air. The plants held in the planter bricks will be fed water and nutrients through drip irrigation lines that are built into the cavity of the masonry wall. The indentations in the bricks that allow for irrigation act much like weep holes allowing water and nutrient to move through a network of continuous drip irrigation tubes that run within the cavity of the masonry wall. The water for the irrigation may be pumped up from below or gravity fed from a cistern or water collection device on the roof. The planter bricks are made by direct digital manufacturing and rapid prototyping technology. Ceramic particles are printed and held together using an organic binder and then fired in a kiln just like traditional bricks. The bricks may be assembled in a load bearing cavity wall condition or installed as a traditional masonry curtain wall would be on a steel or concrete frame building and can be installed new or retrofitted. The planter bricks are 3D printed using direct digital manufacturing . The bricks are modeled in a 3D software application and the digital file is sent directly to the 3D printer for manufacture. This means a very diverse and infinitely unique selection of bricks can be manufactured based on the clients or designers desires for a particular application. The bricks are manufactured with clay instead of more ephemeral powders that are typically used for rapid prototyping . The 3d clay prints are then bisque fired at cone 5 and glazed to make them waterproof.
Project Date: 2009
Project Credits: Ronald Rael, Virginia San Fratello, Molly Reichert
Additional Information: The Planter Brick was exhibited the Exit Art Vertical Gardens exhibit