HRWD
S K E TC H B O O K
sam horwood | 637533 | abpl30048 | studio 05 | caitlyn parry
CONTENTS
01 | week 1
05 | week 2
09 | week 3
ii ONE
iiiONE
01
LOFTING CURVES LOFTING WITH 2 CURVES
LOFTING WITH 3 CURVES
02
The biggest part that I have taken from this exercise is how quickly one can get a multitude of design options with a small amount of time and effort. The grasshopper interface with it’s explicit history nature makes this a simple task. Manipulating then baking at first seemed a strange way of working, however, once I let myself
accept it for what it is it became very second nature.
I’d say that the biggest difference between the number of curves I used in these lofts is the ability to add more
detail. You can see in the 2 curve walls the detail is very limited. I found that you could only really create one element (like a seat) and attempt to manipulate the
general shape of it.
Once more curves were added more detailed exploration could be made. I found it an enjoyable experience making indentations and extrusions from the wall surface and rather quickly I had a very dynamic
wall form.
LOFTING WITH 4 CURVES
03
TRIANGULATION
no. of points
groups
10
10
30
3 15
50
OCTO TREE
DELAUNAY
04
no. of points 10 30 50
From doing this short session of triangulation I realised just how powerful this program can potentially be. Very very easily I was able to create these extremely complex and dynamic shapes surfaces and meshes. This was a very simple box that i applied the triangulation techniques to and I can see with even that besic geometry something really nice can
come out of it.
Grasshopper again made it incredibly easy to coordinate these three very different computational methods.
I was able to keep my original box intact and bake as many options as I
liked with effecting it at all.
I then wanted to see more scale to get a more dynamic mesh and I was able to by simply changing the orginal geomtry maintaining all the options I
made in later stages.
I know this is really basic stuff but for someone who has never even touched this stuff really it’s an exciting experience to see what may come as
my skills progress.
VORONOI
05
TWO
06
TWO
07
OREINT TO SURFACEHEXAGONAL GRID
HEXAGONAL GRID
EXTRUSION 4 UNITS
EXTRUSION 1 UNITS
08
I can see this being an extremely useful tool to come later. It produces really neat looking objects and surfaces and i could see this being very spplicable to floors, ceilings, shells or even an entire space. The scond part thats
really neat about this is that because of the way the box morph works when you have two parts next to eachother they actually connect which could make fabricating something like this
very easy.
CUSTOM GEOMETRYEXTRUSION 1 UNITS
09
I really like the way the orient to surface was working out and i wanted to see what would happen if the surface itself became more complex. I created this flute like surface by lofting for circular curves together as is shown on the cover of this weeks tasks. I wanted to create an actual space that people could explore and experience
to start to see maybe a hint of real world application. I implemented the surface into the grasshopper function by adding it into the algorithm as a brep and hey presto! I was able to get this really interesting form very quickly
and with very little effort.
OREINT TO SURFACEHEXAGONAL GRIDCUSTOM LOFT TO PRODUCE A SPACE
10
11
super cool
many circle
much wow
12
many circle
much wow
13
POINTS ARE RANDOM NUMBERS
PANELLING TOOLSTESTING THE VARIATIONS
CHANGING THE NUMBER OF V POINTS
14
POINTS ARE THE SAME NUMBERS
15
Shelf 2 - spiral geometry edited with delaunay panelling tools
PANELLING SHELVESSHELF ONE
SHELF TWO
SPIRAL GEOMETRY WITH DELAUNAY
SPIRAL GEOMETRY (EDITED) WITH DELAUNAY
16
Shell 3 - spiral gemoetry with faceted dome pannelling tools
SHELF THREESPIRAL GEOMETRY WITH FACETED DOME
17
FOUR
18
FOUR
19
CHANGING THE SCALE FACTOR
0.5 0.4 0.333
I decided to try changing around the scaling factor of the secondary truncated prism. This provided some pretty interesting forms to play around with. The forms are definitely interesting but apart from the example given in the tutorial
i can;t see this exact technique producing many different results.
FRACTAL GEOMETRYTRUNCATED PRISMS
20
changing the no. of sides
5 4 3
This was a really handy exercise just to find out about the polygon tool! This is the first time being introduced to it and it would have helped a lot when just needing to create simple geometry. I think this shape forming could come in very useful in the future just being able to rapidly change the shape of an element is very powerful. i will definitely start using this more in my work. However, i guess the downside it the use of organic forms is out of the
21
I wanted to start looking at different geometries and how this same process would would on them. This proved to be quite interesting actually and spat out some really useable forms especially when using straight sections. I thought that this form would make a cool sking for a building and then just fill in the
blank spaces with a curtain wall. Could be interesting.
LINEAR GEOMETRY
FRACTAL GEOMETRY
22
CURVED GEOMETRY
23
the tree
FRACTAL GEOMETRYHEXAGONAL GRIDEXTRUSION 4 UNITS
24
25
26
27
PLAYING AROUND WITH SLIDERS
FRACTAL GEOMETRY
Z CO ORDINATE = 0
28
RADIUS = 100
29
case study 1
30
31
Because of the way in which the cones trim one another the system can only handle so many itmes within it. The original document only
allowed for 35 points to be radonmly generated in the source plane. i took this up to 70 as i
breaking point of the no. of points in system
VOLTADOMSADJUSTING THE NUMBER OF POINTS
32
Because of the way in which the cones trim one another the system can only handle so many itmes within it. The original document only
allowed for 35 points to be radonmly generated in the source plane. i took this up to 70 as i
10 20
40
6050
30
70
33
The seed number is changing the position of these points that are being generated within the source plane. Whats interesting is that I’m seeing a pattern
between odd and even numbers in this slider. It seems to me that odd numbers are producting the oposite arrangement of the points and visa versa.
I’ve found that with this slider the system breaks down very quickly. i think that you would have to alter the script to allow more functionality within this project.
VOLTADOMSADJUSTING THE SEED NUMBER
34
The seed number is changing the position of these points that are being generated within the source plane. Whats interesting is that I’m seeing a pattern
between odd and even numbers in this slider. It seems to me that odd numbers are producting the oposite arrangement of the points and visa versa.
I’ve found that with this slider the system breaks down very quickly. i think that you would have to alter the script to allow more functionality within this project.
ADJUSTING THE CONE RADIUS
35
VOLTADOMSADJUSTING THE HEIGHT RATIO
36
Adjusting the height ratio is resulting in taller cones. The practicle application of this is that this can
easily increase the volume of the interior space.
1.0 1.5
3.0
5.04.0
2.0
37
The size of the openings interests me quite a bit as the altering of this element can dramatically
change the space within. These could also be ranged so that you would get varing light
forming in different parts of the design.
ADJUSTING THE SIZE OF THE SECTION CUT
VOLTADOMS
38
The size of the openings interests me quite a bit as the altering of this element can dramatically
change the space within. These could also be ranged so that you would get varing light
forming in different parts of the design.
0.1
0.5 0.6 0.7 0.8 0.9
0.2 0.3 0.4
39
I thought that it would be really cool to see these faults with the box morph applied to them. Let’s be honest i was right! These look super cool and could
be a really interesting space to be involved with.
VOLTADOMSBOX MORPHING THE VAULTSUSING A HEXAGON POLYGON
40
41
FIVE
42
FIVE
43
FIELDSPOINT CHARGE SWIRL CHARGE
RADIUS = 30
CHANGING RADIUS OF CIRCLE
44
RADIUS = 20 RADIUS = 10
45
IMAGE MAPPINGIMAGE 1
IMAGE 2VOLTADOM
46
IMAGE 3GEOMETRIC PATTERN
47
GRAPH MAPPERCULL PATTERNS
TRUE FALSE TRUE FALSE FALSE
48
TRUE FALSE FALSE TRUE TRUE FALSE FALSE TRUE TRUE
49
GRAPH MAPPERDIFFERENT GRAPHS
BEIZER PURLIN
50
SINE PARABOLA