Abigore, a Japanese robot from a distant future, is comprised of many disparate parts that perform diametrically. The robot is designed to function as a battle-droid; ready for combat, however his construct is geared mainly towards aerodynamics in flight. Joint pieces are utilitarian in nature with casings that are anthropomorphic and are distinguished from their more aerodynamic breathren through simple color coding.
Aesthetically, the components that make up this robot correspond to function. Drag coefficients are reduced through careful manipulation of form as to provide optimal response in flight. The way the head protrudes into a scythe-like horn directly corresponds to the robots kinetic ability to manuveure in flight. The chassis its mid sections is broken up into a tryptich of specific performances; the shoulders are widened and contoured in order to break air around the upper appendages, and the body’s massive frame allows there to be continuity between the head and the rest of the body. It is also interesting to note that the lower extremeties also help to reduce drag and provide the connection aesthetically necessary with the rest of the body.
The range of Abigor’s movements are confined to subtle hinges and pivots that in flight would be able to efficiently facilitate his maneuverability. Coding becomes equally important as functional attributes are coupled with the aesthetic qualities. Here, tectonics, specifically the exterior panels, relate aesthetically and purposefully to jet airplanes, which are engineered and tailored by aerodynamic forces in order to perform optimal flight. The morphology of the playplanter is regulated by tracing the profile curvature of some of Abigor’s aerodynamic shell. In this version, the scale does not yet engage adult height. Further analysis will critique this iteration sufficiently enough to create a critical rubric.
For measures of performance, the group chose to analyze the inherent performative qualities of a Japanese Gundam warrior. The analysis involved understanding the design techniques employed on the toy in order to calibrate and direct our investigations into possible readaptation of/for performance. Using advanced modeling techniques as well as analytical software we looked to see how the particular creasing occuring on the model could be increased in scale and intention. At times directing, at other times influencing the design process was a critical understanding of how inflections in form can create ecologies and moments for cover and repose.
The overall scheme of the design at this scale, is composed of cavity-like spaces, accommodating ecological growth at these collective anomolies as well as instances of shelter and youthful inhabitation of jungle gym occurences. These cavities are produced by the protrusions of this aggregated system of components at certain intervals to allow structural capability.
Smooth, continuious deformations of the original iteration preserve ecological cavities for optimal water collection and solid volumous spaces decompose into skeletal monkey bars that course through the center of the system. The structural components pierce the undulating landscape at concave points to generate overall stability without sacrificing aesthetical aerodynamic flow from the body to the groundplane.
Wednesday, December 17, 2008
Tuesday, December 16, 2008
Creased performance
The final iteration of our design manifested three different bodies of program. A canopy condition addressed issues of air flows and water. The second condition acted more as a way of inserting a playground typology, monkey bars. The last body mostly embedded in the ground served as planters for recreation and enjoyment. The sectional distribution of these components allows children to play through and on top of the structure.
If imbedded into the ground, these planters would beginning to play with notions of natural and artificial surface. In order to quantify the funtionality of its design, we implemented a series of studies on a previous iteration: where this structure meets the ground, the integrity of the surface itself, as well as its ability to direct water away and into the openings. These studies showed us some necessity to recalibrate the topology of the structure in order to perform effectively.
We realized that the method of modeling was as important as the model itself. Switching from laminar to volumetric modeling allowed a continuous topology to embrace and redirect different flows of air and water.
Concepcion / Torres
The characteristics of the artichoke present a dynamic diagonal pattern that flows through a cone-like form. Our intent in the 50x ratio is to create a tower design which breaks away from the traditional form and aesthetic characteristics of a typical tower. We wanted to develop a form that described the most interesting characteristics of the analyzed object, as it was the artichoke, but also create interesting variations that adapted to our analysis. As we began to research on the typology of the proposed structure we came across Norman Foster's Swiss Re Tower in London. After studying this building, we found similarities among the organizational systems in both the artichoke and the tower. Some of these similarities are the cone like form of the exterior of both volumes. The diagonal panelized effect that occurs on the exterior surface is also another quality that the tower and the artichoke share. In our design for the 50x ratio we captured the idea of a cone like form that is composed of panels that are defined by a series of spiraling helixes. With this system of panels, we developed a continuous triangulated skin which its elasticity gives us the opportunity to explore its performance in areas such as high vs. low density as well as contraction and expansion critical points for our tower. Also, the entire system of panels vary in size at each level. In order to break away from the traditional symmetrical form found in the artichoke and in Foster's tower, we studied the organizational characteristics in the artichoke. Basically we start at the top and understand that the entire form almost culminates a single point, as we continue down the form it expands while increasing its panel size. At the midpoint down from the artichoke we find the area with the highest level of tension and width. From there everything begins to compress into what is the artichokes stem otherwise known as the densest part of this vegetable. From this point on is perhaps the most intricate part of the artichoke, which is it root structure. The stem becomes the transitional element from an organized symmetrical series of elements to an organic and abstract composition of ramifications. Our tower intends to capture all areas of interest found in the artichoke including the organic and intricate root system that engages the ground with its more symmetrically organized upper portion. We believe that the integration with the ground plane is one of the most important aspects of the development of the tower because of the variation in density and order. The lower levels and the ground turn into a highly formalized extension of the landscape that turns into the organizational system of our tower. As we analyzed the variations in density of the artichoke, we saw an opportunity to create shaded spaces on the tower's lower levels where the density of the paneling system was lower. Our tower is an abstract recreation of a dynamic irregular shape with critical points of pressure, contraction and expansion. Throughout the project there was an idea of maintaining a language of repetitive spiral expansion and contraction among its dense overlapping panelized periphery and supporting it with an abstract ramification of this rigid spiral expansive system. Furthermore, the artichoke presents a characteristic of the grouping of fibers that grow either to become a protective system, or the nucleus of the flower. In the same manner, we developed a system of fibers that expand vertically transforming and acting as the structure of our tower. Also, we tried to maintain a uniform and coordinated composition of the flawless geometry of the artichoke. The comprehensive analysis of the artichoke and the developmental process lead us to create a tower that would connect man and nature in an organic yet comprehensive and organized form. The organic design of the lower levels brings people into the tower to be lead into organized spaces. This analysis gave us the tools to create a strong structural system that performs and is aesthetically pleasing. As with our previous 1x ratio analysis it was very important for us to create an object that would maintain the same characteristics of shading and organic form but with a stronger sense of performance for a 50x ratio.
This is the relationship of the root system and the paneling system analyzed and transformed into our tower.
This is the analysis on the pressure points of the artichoke translated into our tower.
further researching the typology of our ideas we came across the Swiss Re Tower in London and found similarities with the paneling system of the artichoke.
Monday, December 15, 2008
Mejia_Rodriguez: Mach 5 Recreational Park Description
When we first started our team looked into a big brown bag full of goodies, as we dug deep we found the Mach 5 toy race car, and it would be our concept for the rest of the semester. The Mach 5 race car is a fictional race car from the Japanese comic and cartoon by the name of ‘MachGoGoGo,’ with the English adaptation being a cartoon called ‘Speed Racer.’ Speed Racer was the name of the fictional cartoon driver of our car, ‘The Mach 5.’
We first began by dissecting the toy car. We looked at the insides and outs; further, we saw four main components that could be useful: the rotating component, the enclosing membrane, the interior, and the aerodynamic structure. The one that stood out mostly was the aerodynamic structure. As we researched people like Ali Rahim, Zaha Hadid, UN Studio, and more, we began the first steps to giving this concept an identity.
In our next step we began to transform the aerodynamic curves of the Mach 5 race car. We transformed the Mach 5 curves, which can be seen as a gradual progression of curves, into an exaggeration on stressed curves versus relaxed curves. Using these curves we assembled a structure that could hold 1 to 5 people. After various analysis and diagrams we came to the conclusion that the structure was still very conceptual. In the Final rendering a organic landscape shyly apparent seemed more appealing than the concept itself, it looked odd as a building structure. This sparked a new initiative of creating a landscape. We realized that the most important inspiration to our final project would not come from the likes of Ali Rahim and Zaha Hadid, but it came in the form of landscape architect Maya Lin. Her works like the wave-field which consist of eight rows of grass waves done at the University of Michigan and the Bicentennial Park at Ohio University would inspire our project throughout.
Although, before we started our journey into the actual process of developing a purposeful space that could hold a maximum of fifty people, we had to research how particles would interact with the curved surfaces we created. We used RealFlow software to digitally animate a ‘water-bucket’ and then a ‘wind-vortex.’ What we witnessed was that the particles had more motion around the tight curves as opposed to the relaxed curves. The particles were in motion inside the tight curves; we then saw these tight curves begin to dictate the movement of the particles.
Once our performance research was done, we began our journey into transforming these curves into a purposeful space. We began the landscape by having the same opposition of tight curves and relaxed curves. As we began to create this landscape, it hit us, people do not react the same as particles. People will become stagnant and use the tight curved surfaces as resting spaces, or become active and use the loose surfaces as functioning spaces. This began the start of our Mach 5 Recreational Park. The park is made up three modules, each module containing curved surfaces that can morph and create standing, leaning, and seating conditions. The landscape was designed to evoke the aerodynamic curves of the Mach 5, which dictates air movement, in order to dictate human movement.
We first began by dissecting the toy car. We looked at the insides and outs; further, we saw four main components that could be useful: the rotating component, the enclosing membrane, the interior, and the aerodynamic structure. The one that stood out mostly was the aerodynamic structure. As we researched people like Ali Rahim, Zaha Hadid, UN Studio, and more, we began the first steps to giving this concept an identity.
In our next step we began to transform the aerodynamic curves of the Mach 5 race car. We transformed the Mach 5 curves, which can be seen as a gradual progression of curves, into an exaggeration on stressed curves versus relaxed curves. Using these curves we assembled a structure that could hold 1 to 5 people. After various analysis and diagrams we came to the conclusion that the structure was still very conceptual. In the Final rendering a organic landscape shyly apparent seemed more appealing than the concept itself, it looked odd as a building structure. This sparked a new initiative of creating a landscape. We realized that the most important inspiration to our final project would not come from the likes of Ali Rahim and Zaha Hadid, but it came in the form of landscape architect Maya Lin. Her works like the wave-field which consist of eight rows of grass waves done at the University of Michigan and the Bicentennial Park at Ohio University would inspire our project throughout.
Although, before we started our journey into the actual process of developing a purposeful space that could hold a maximum of fifty people, we had to research how particles would interact with the curved surfaces we created. We used RealFlow software to digitally animate a ‘water-bucket’ and then a ‘wind-vortex.’ What we witnessed was that the particles had more motion around the tight curves as opposed to the relaxed curves. The particles were in motion inside the tight curves; we then saw these tight curves begin to dictate the movement of the particles.
Once our performance research was done, we began our journey into transforming these curves into a purposeful space. We began the landscape by having the same opposition of tight curves and relaxed curves. As we began to create this landscape, it hit us, people do not react the same as particles. People will become stagnant and use the tight curved surfaces as resting spaces, or become active and use the loose surfaces as functioning spaces. This began the start of our Mach 5 Recreational Park. The park is made up three modules, each module containing curved surfaces that can morph and create standing, leaning, and seating conditions. The landscape was designed to evoke the aerodynamic curves of the Mach 5, which dictates air movement, in order to dictate human movement.
The primary focus of this study is based on the dynamics of form and performance of a boat and its relationship toAnthropometrics. Humans interact with their environments based on their physical dimensions, sensory capabilities and limits. Form, shape, appearance, and configuration apply to the mass magnitude of this project. In relation to human limits, a grid was created to represent the proportional factors and morphological analysis of a boat as it applies to the fabrication of the pavilion. The grid was deconstructed to create a fifty person ratio massing. After the aggregation and rotation of structural elements, a repetition of the view in plan was used to create the layout for the transportation hub. This architectural assemblage serves as a mean of transportation from one point in space to another via a linear circulation path. Not only does the pavilion establish a relationship with human scale, it also interacts with their psyche in terms of their sensory capabilities. Light is significant in architecture because it is the only thing that is animated, making it personable to humans. The delicate openings atop of the pavilion create thin slits of light that change in location as the day progresses giving it a majestic expression.
50-X Ratio_Voronoi Skin Formations
Romero
The following diagrams show the geometric generation of voronoi systems from its basic level to a more complex one.
Study of voronoi systems applied on curved surfaces.
Analysis of curvature to identify efficient zones on the skin that will perform successfully to the structural supports. The green areas indicate those zones.
Study of relationship between skin and structural supports (green areas).
Selection of the structural-supports location on both:the curved voronoi grid of the skin and the planar voronoi surface of the ground.
Diagram showing the skeleton of the structure based on the voronoi skin and the triangular structure that follows a voronoi geometry as well.
The following diagrams show the geometric generation of voronoi systems from its basic level to a more complex one.
Study of voronoi systems applied on curved surfaces.
Analysis of curvature to identify efficient zones on the skin that will perform successfully to the structural supports. The green areas indicate those zones.
Study of relationship between skin and structural supports (green areas).
Selection of the structural-supports location on both:the curved voronoi grid of the skin and the planar voronoi surface of the ground.
Juxtaposition of planes by means of structural supports based on triangulation.
Diagram showing the skeleton of the structure based on the voronoi skin and the triangular structure that follows a voronoi geometry as well.
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Thursday, December 11, 2008
MejiaC_RodriguezC: Final Project (continued)
We started with the Mach 5 race car as a concept, a fictional race car driven by the cartoon character named 'Speed Racer.' We transformed this through a series of analysis, and it became the Mach 5 Recreational Park
Special thanks to everybody that helped us in any major or minor way in this project. Professor Waltersdorfer, Noel, Angelica, George, Professor Goldemberg, and anbody else that gave us a hand, THANK YOU!
Special thanks to everybody that helped us in any major or minor way in this project. Professor Waltersdorfer, Noel, Angelica, George, Professor Goldemberg, and anbody else that gave us a hand, THANK YOU!
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