6. Computational Couture¶
RESEARCH & IDEATION¶
How high do you want to fly? ... is in relation to how deep you've gone. A chrysalis is the hard skin left behind once the caterpillar sheds. The form of this structure signals a high degree of energy exerted into what is now discarded. The external layer protects the becoming that resides within, yet exists as a temporary protection during a transitional phase. The moments we ride momentums, expanding the wings that took so long to build, we remember these barriers were for a moment.
For "Computational Couture", the distinction between designer and artist came into play. Reverse engineering, specificity, nuance and a level of restraint must be excersized for exact results as a designer, yet a vision, sensitivity, fluditiy and a desire to respond and express must be in tact for resonant choices as an artist. This balance has been highlighted throughout the program but this week placed it with the understanding that what you see operates on a continuum of visionary focus through consistent inputs/outputs.
“Do you want to fly?” // “Do you want to ride on the Mothership?”
“After the mothership comes, there will be no second coming” // “When the mothership comes, you better be ready to ride”
REFERENCE & INSPIRATION¶
⤷ Eugenio Bettucchi - Tutorial
⤷ Stephanie Johnson - Design
⤷ Catherine Euale - Accuracy
PROCESS & WORKFLOW¶
This week, we learned how to use parametric design for digital fabrication through design methodolgies. This topic was introduced by JULIA KOERNER, an award-winning architect and designer known for her work in computational design and 3D-printed fashion.
WORD OF THE WEEK : PARAMETRIC DESIGN - using algorithmic thinking to create designs based on rules and parameters. Changing an input automatically changes the design outcome. This makes for data-driven, customizeable designs.
My workflow consists of creating parametric models using Grasshopper3D for 3D modeling then transitioning the stl. files into PrusaSlicer to adjust the layout, sizing, and filament settings for 3D printing.
DESIGN :: Rhino and Grasshopper Workflow - adapting models + adjusting geometry
Rhino is designed for geometric visual output. Grasshopper is a programming environment that drives this geometry through parameters and logic. Changes can be made for complex patterns within Grasshopper that are generated for visual interpretation in Rhino.
_Personal Perspective_ : I enjoyed the plug-in's more than I thought - I learned Max7 in university but it broke my brain - I dropped out that semester because it was deeply overwhelming at the time. Having gone through institutional trauma, now I look at these plug-ins fondly. Having YouTube tutorials as a guide didn't hurt either.
LAYOUT :: Visual Test with PrusaSlicer - assessing scale + set up for physical fabrication
Once the stl. files are saved in Grasshopper, they must be exported to Prusa, an open-source 3D printing software that converts models into printable instructions called G-code. Prusa is similar to Slicer, a return to Week 2 so it's cool to see what I've retained over time.
_Personal Perspective_ : adjusting the size I wanted needed measurements, because my intention was to make a braclet/cuff. I also wanted to use a TPU filament for it's softness and flexibility, as I am using this as a test for other designs I have in mind.
PRINT :: 3D Printing Process - getting material, temperature and settings right [always]
After exporting the geometry from Rhino as an STL file, I uploaded the G-code to the Sim card. I used a black TPU filament for this process. It was initally difficult due to the flexibility of the material. We had to make several adjustments to the temperature and make sure the material was inserted straight, as it has a tendency to fold and cause interruption. Bascially, it's delicate and needs monitoring.
_Personal Perspective_ :
Design inputs using Grasshopper
3D Printer Parametric Signals Prusa Settings
parameric desing algorithmic design