(SELECTED) PREVIOUS WORKSHOPS' OUTCOME
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Facade with Tweened Lines
This exercise explored facade as a function of abstract patterns which were guided by two sets of three lines placed at the two ends of the grid. The three lines (red, green and blue) were tweened (averaged) between the two ends of the grid. Once a pattern was derived, it was offsetted inside by a value calculated from the desired window to wall ratio. Since the process was intuitive, around 200 unique patterns were conceived. For each kind of offset, 3 facades were designed corresponding to window to wall ratio of 0.20, 0.40 and 0.60.
The 4-day workshop explored different operational techniques of generating tower shapes. A custom made Grasshopper script was used to define a series of towers using the same set of parameters. Participants started with a cuboid and operated it by a) slicing floor plans, b) filleting the floor plans progressively from a rectangle at the bottom to a circle towards the top, c) dividing the floor plans into four quadrants, and d) rotating the floor plans based on a graph mapper. Some of the embodiments were cnc cut and assembled for exhibition.
You can download and play with the Grasshopper script here.
Triangulated Skin Installation
The installation was literally a triangulated skin made of 2 mm thick mount boards which were laser cut into shape, and joined using 10 mm wide staples. It was made of 400 pieces of triangles with flaps, which comprised of four sets of 100 different pieces (as shown in the diagram). The half-cut flaps were folded and stapled to each other using simple low-tech flap to flap alignment. The triangles and flaps were numbered, which allowed easy one to one assembly of the triangles.
Waffled Surface as Canopy
Participants were introduced to Rhino & T-splines modelling through an exercise of canopy design. The final surfaces were turned into waffles using custom Grasshopper script. The waffles were numbered and laser cut on 2mm thick mdf boards.
Piet Mondrian's 3D Massing
We explored morphological translation of De Stijl composition of Piet Mondrian into three-dimensional embodiments through Shape Grammar as a methodical investigation, not an aesthetic style. The principle of sub-dividing a rectangular canvas with lines and selecting few of the fragmented canvas pieces for colouring was applied to different three-dimensional typologies by sub-dividing the initial geometry with planes, and then selecting few of the fragmented volumes for absence or presence. Shape grammar was used for sequential sub-division of canvas or geometry.