Topological Cousins ||

Topological Cousins |

Digital Fabrication

In the article we read last week, I mentioned about digital production, laser cutting machine, so I mentioned these machines. During the preparation process for the laser cutting process, we make a transformation between the dimensions are 2D and 3D and in fact, I have argued that this could cause a loss of data. In this week’s reading, I was a little satisfied, even if it wasn’t exactly when I saw the advanced state of these technological fabrications together with their architecture and examples. I still think there’s a loss of information, but not as strong as last week.

I wonder why these digital fabrication methods are more successful in small-scale structures such as installations. As the scale grows, the design problem, at least on the basis of the shell, should not change, or at least it should not be something that forces us because we work with parameters and codes.

For example, this semester, the contouring method mentioned in the article was used to construct a land model for the studio. Three-dimensional curved surfaces from a two-dimensional plane were formed by sections. This could be done with only two commands in one of the digital modeling programs. There was an objective in the production of cross sections; feel the smooth structure of the clover. If a horizontal topography was used, the method would not have the same feeling even if it was the same. What I mean is that the method and the construction technique result in a result product and the result can greatly affect the product’s experience. And even though the details were 1/500 scale, they could be experienced very smoothly. We have a close relationship with the Folding method in the first class project, but at that time we were going to make mostly orthogonal folds. We avoided making curved surfaces. But in fact, if we start reading as a strip, and not just how this strip is curled, it also defines a continuity even if it is curved or folded in an orthogonal way. Both of them are acceptable and also the same in a Mobius strip when a thin strip is folded orthogonal. They are quite similar to the methods of sectioning and contouring. I may not have fully understood the difference between them. Sounds like end productions that can be produced by each other’s methods.

In addition, I have tried some things to produce laser-cut elements that have folded or curvilinear surfaces. For example, it is an unusable program but Sketchup has some commands like unwrapping and flatten. These commands helped me break down a spherical surface.

Digital Production

First of all, I would like to start by talking about a problem in my mind that these 3D numerical concept models can be digitally and physically combined with the CNC machine. In fact, this is not confused with my head, just about the CNC machine. In fact, this situation is completely related to data transformation. Obviously, I think there might be information loss during this data transformation. In fact, the data transformation we are talking about is like going from one dimension to another. For example, Kolarevic talks about going from digital to physical, from 2 to 3, and I haven’t seen him mention anything about data loss. Although I do not know my statement correctly, I think there is a loss of data. In fact, this does not mean that I rejected digital fabrication. The development of digital fabrication and technology is an undeniable fact in many materials, surfaces and space formation, including curved surfaces. It’s a little different than the situation I’ve got in my mind. I think I’ve got the transformation process in my search for a bit.

For example, I am using a laser cutting machine to produce a two-dimensional model physically. In order to be able to use the laser cutting machine, I have to turn 3 dimensions into two dimensions and it is a loss of information. I can see it when I’m preparing a drawing for cutting. Then I can feel that it is the same thing when trying to do something in 3D with those two-dimensional pieces. The laser cutting machine may be an old invention, perhaps according to the examples Kolarevic mentioned. This savage may be subdued very easily, but I couldn’t convince myself. I think this information is in the process of data conversion. Therefore I tried to look at digital fabrication both positively and negatively.

Architecture in the Digital Age Design and Manufacturing

First of all, with the emergence of modern architecture at the beginning of the 20th century, the examples of which may be considered as parametrical before them, the geometry of which is based on the euclidean and the orthogonal system, and directed only to the function, has lost the importance of the form and reduced to basic geometries which is Cartesian system.In order to prove this; we can give an example to the argument that is “form follows the function”. With the development of technology and industry, especially in terms of form, architecture began to be develop.

Avant-garde architecture and postmodernism are pioneers. At present, postmodernism can be considered as the opposite manifesto of modernism, in my opinion, it can be regarded as the pioneer of parametric design and formal innovations. It is mentioned in the article, Crystal Palace also opened a new era in terms of material. Following this, Frank Gehry’s Guggenheim Museum is groundbreaking in terms of material of the building and its use of technology in parametric design. The potential of digital media to capture technology and use of technology open up new dimensions in architectural design. It is related also the usage of that kind of technology with the automotive, aerospace and shipbuilding industries.

With the development and use of software programs, the works of architecture and construction sector have started to be easier. For example, simulating the structure before making a structure was made possible to see the result of the product. Thanks to this, they have opened up new opportunities by allowing the production and construction of very complex forms, which are difficult and expensive to produce, together with the developing technology. With the development of technology, the development of curvilinear forms has also been facilitated. It is also possible to see examples with the Avantgarde style.

According to Deleuze, the idea that designs do not have to be linear and that architectural works can be done without linearity. Avantgarde architects are affected. At that point, I was interested in the “rubber-sheet example”. Greg Lynn is the author of our previous reading, “Animate Form”. In this part, I think of topological landscape. There is a gridal surface and a series of lines that are pulled from this surface creates forms. Of course, it’s more about folding. As an example of folding, there are some forms that are already in the 3ds max program.There are some torus kind of forms that you can give a shape by folding or pushing/pushing some parts of that existing forms. As a revived question in my mind, what is the spatial equivalent of Deleuze’s formal manifesto, while diversifying the human experience? How did this spatial organization come into being when it was deepened, that is, when Deleuze’s assertion first appeared? In other words, how is this disorganization systematized in terms of human experience? Does the first objective underlying this challenge challenge existing boring forms?

It is mentioned that digital forms do not follow a style, and design is aimed at constantly diversifying human experiences. This situation is very interesting, although it is a process that is not easy. As mentioned by Lynn, Baroque architecture is mentioned and it is mentioned that it has a strong connection with contemporary design and more accurately with parametrical design. I agree with this. Avantgarde style out of boredom and had different form trials. Contemporary architecture, such as “neo-baroque” in the architecture mentioned in the goal is not different.

Curvilinear forms also attract attention in the interior design of some architects such as Alvar Aalto. And, of course, groups like archigram have been groundbreaking.

Commentary for Animate Form

At the beginning of the article, author mentions animation and motion. The author says that the two terms are confused and not the same. Based on these two words, I will try to make inferences. Architecture, especially in the basics of the design, reduces the needs for design problems and design solutions. One of these abstract worlds, as the author mentioned, could be Cartesian system. I think that the transition to the parametric system (u, v) we are talking about in the first two courses is related to the orthogonal system and the restriction of movement. While we cannot pass beyond the measurement in the Cartesian system, we have the authority to measure the oblique surfaces in the parametric system and are beyond the measurement. It sounds to me that the animation and motion words are both relevant to these two. The animation is like a series of motion sequences. In other words, I think the motion develops and creates animations in a sequential way. Not a single moment but a combination of many layers. When author talk about the three-body problem in the text, I would like to say that; Cartesian system is thought to be like, but they realize that this is not the computer environment. The situation changes when the concept of “Time” is recognized.

 Besides, as far as I understand, we need to teach parametric or non-linear programs to computers first. As mentioned in the text, it is like training a pet. Although we can say smart machines to make them need to promote it.

 The article also refers to the concept of “capturing motion”. This reminds me of Bernard Tschumi’s The Manhattan Transcript. Tschumi generated sequences from images, images and photographs through an event and superimposition of these sequences. Animation and motion words reminded me of Tschumi’s event space, movement terms. If I explain it through Event space, I think that event space can be any kind of environment where architecture is created. On the other hand, only architecture in event space is not expected to be created in my opinion. Animation and movement creation is sufficient. Maybe, I was a bit away from the subject, but it reminded me of this.

Since the author mentions more than one topic in the text, I may have mixed my thoughts. For example, Baroque architecture refers to the center of gravity of the topological surface and the presence of a center that carries it. We use the “spline” command when drawing oblique poly-lines in a CAD environment. I know these splines have actually centers like circles from the Media Scapes lecture. But I feel like I’m only drawing curved lines. I don’t understand how these lines are a center, when I draw these spins. The reason for this, I think, we do not draw the line by the center of gravity. We draw the line over the line.