PART A – showcase
PART B – augment
PART C – p3d
PART D – essay
The design visualization sequence has provided us with a large and varied communication skill set to present our architectural and spatial objectives. The use of diverse programs such Rhino (and it’s plug-ins Grasshopper, Weaverbird, and Lunchbox), Maya, 3DS Max, DepthMap and ArcGIS facilitate the graphic and visual ability to create a cohesive project that takes architectural design, industrial fabrication, spatial urban studies, and environmental concerns all into account for integration into multidisciplinary design. The 2D programs (DepthMap and ArcGIS) emphasized the larger urban context of a project while 3D platforms represent different form-generating capabilities that are more conducive to architectural design. For example, Rhino has a more controlled computer design while a program like Maya represents a simple and accessible approach to free-form modeling. Each of these programs has strengths and weaknesses. Ideally, one will include both programs in their workflow on a project, both for modeling and for rendering capabilities. Additionally, many of these 3D programs also utilize parametric considerations to drive design choices. For example, Rhino and Grasshopper parametrically work together to visually represent data, whether it is a specific relationship or one created by data-driven design (like wind speed, temperature, etc). Additionally, Maya allows unique and complex parametric relationships to be set up to allow for easy manipulation and duplication for industrial fabrication, such as the CNC milled wall panel forms. The combination of all these methodologies promote cohesive and complete design for a project, emphasizing everything from the micro level of wall and material details to the macro level of the urban and city context.
Along the lines of the 3D software programs, we also began to experiment with the concept of augmented realities and real time renderings as another visual method in presenting our renderings. Through Rhino, Maya and 3Ds Max, many different rendering techniques and styles can be extracted from each program; however, with the introduction to 3D rendering, whether through Autodesk Showcase, Augment, or p3d, these renderings become moving animations of the architectural form, usually in hopes of creating a larger city or environmental context for the building. Autodesk Showcase is a quick way of creating a digital movie of a model in a variety of environments. Unlike Maya key framing or animation from 3DS Max that requires the rendering of each animation image, Showcase allows one to create an engaging visual communication tool relatively quickly. Augmented reality is another unique way to create a “hybrid” digital and physical model, though the program seems to distort some of the imagery and it’s quality. P3d presented another digital 3D real time rendering that allowed one to easily view the model on the internet with “rendered quality.” These methods are also unique due to their close integration with technologies such as smartphones and iPads, but at the same time, provide somewhat of an inaccessibility of the software for the same reason. Though all of these are new and innovate ways to represent a digital model, it could be difficult to set up this technology during a review to share with the panel. As with all new technologies, it is always essential to know and learn about them for possible future use.
In addition to all of the computer software knowledge, this course also focused on utilizing a variety of materials and technologies for the projects. In the first semester, we used museum board to create hexagon panels and were initially exposed to the laser cutting machines and the protocol to successfully using this this technology. In the second semester, we utilized the CNC milling machine to create a wall tile panel and vacuum-formed the object to create a plastic mold of the object. This last semester, both clay and concrete were used to express vignettes of architectural forms and systems. The clay project (puzzle boxes) would be a great opportunity to work with more materials such as plaster of Paris, wood, resin, plexi-glass, and metal to explore the relationship between these materials to one another.
Many projects were not simply “architectural,” but rather, focused on the much larger issue of visual communication. For example, the cement wall tile project completed in the third course of the sequence began to challenge many of the previously completed projects employing parametric techniques. These seemingly identical wall panels, created through parametric relationships, were all converted into separate and distinct works that create a new language for both the material (concrete) and the wall. This class has not simply taught us about the different digital software and their capabilities, but it has raised many questions about the state of architectural design and practice and the connection to related fields like city planning, fabrication, materials, and visual data representation. Every exercise and project has a deeper connotation to a larger architectural concept that makes us rethink what it means to be “architectural” or “structural” or how buildings connect to a larger urban context. The skill sets acquired from this design visualization sequence provide us with the ability to create, model and present all aspects of architecture and begin to develop our own style and identity in the process. The class allowed us to experiment with different computer programs, materials, and presentation methods to fit our unique character.
This design visualization sequence feeds into many other courses that we take in our foundation first year of the M.Arch I program. The communication skill sets certainly feed into our studio projects and allow us new methods of visually/graphically creating what we need for our projects. Additionally, with the use of EcoTect, Weaverbird, and Grasshopper, these projects conjunctly work with our Environmental Technology class this summer semester, where we focus on shading, natural and electric lighting, and changing materials to account for heat gain and heat loss. These courses could potentially work very closely in order to produce great documentation of each project, both in it’s actual content and the presentation of the material. Additionally, it would be wonderful to work with other programs in DAAP such as the School of Design or the School of Art in one project, similar to the concrete tile paneling, where the School of Design plans the installation of the piece. To work closely together on a project would provide a new and exciting insight outside of SAID and allow us to continue furthering our understanding of the larger integration of architecture.
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