COMPUTER AIDED ARCHITECTURAL DESIGN
ARCH 2710: SEPTEMBER 19, 2024

Exercise 3: Transformations, Introduction to Solid and Surfacing Modeling
Due: October 11, 2024
Preview: Preview your approach by September 27nd with your SIA.

This assignment will introduce some of the techniques and concepts of three dimensional modeling. It is at signficant step forward for the semester in that you will undertake 3D modeling with an advanced use of construction planes for the first time. Later on during the semester we will be revisiting 3D modelng concepts with varied technology options and methods to working in 3D space  . Correspondingly, in future exercises you will  also develop the geometry in your model with greater detail, more algoritmic possibililities, and with simulated lighting and materials.

Within assignment2, we examined symmetry operations in two-dimensiona diagramming geometrical modeling. Now we use the diagramming geometry as a generative basis for solid modeling and surface modeling techniques. The goal  now is to produce a minimally detailed massing model. Indepth solid modeling, 3D surfacing and parametric 3D modeling will be explored in the workshops over the next several weeks.

NOTE: Start on this assignment early and work on it consistently over the next several weeks. Seek out interim feedback on your progress or on technical questions with your SIA or the course instructor. That is, work consistently and in smaller incremental steps over the period of time prior to the due date rather than attempt to do the work in one later marathon effort.

PART I.

Overview: Four Stages In The Development of The 3D Model

1. First, building upon the diagrammig approach of exercise 2, construct 2D geometry on 3D Construction Planes that may consist of lines, arcs, circles and other graphic primitives that may serve as the basis for projecting the solids and surfaces. That is, begin to setup for a projective vector based approach to modeling where applicable.
2. Second, use the 2D geometry on the construction planes of part 1 as a direct basis for creating primitive solid elements, such as in double curved walls and similar architectural or non-architectural elements. Or, where necessary, create more directly solid model primitives such as spheres, boxes, and cones in the construction of the three-dimensional model. And where necessary, use abolute and relative coordinates to help create non-planar 3D curves and linear elements to add  surfaces to your model.
3. Third, apply Boolean commands  where applicable to the initial solids and surface  of parts 1 and 2 so as to further articulate3D shapes.
4. Fourth, use editing tools on solids and surfaces to being to articute the 3D model.
   
   

PART II.

Develop a short abstract Grasshopper definition to describe some aspect of your project in 2D form. This can be a basic as a small set of lines in plan that are constrained to a the movements of an associated set of points. Or, it can be a projection of a surface or a solid model in 3D.

Note once again that you should not attempt to develop the 3D model in great detail, but only to develop a general representation of its massing and geometry. The following three figures show a rough development of Mies van der Rohe's German Pavilion. Figures 1 and 2 are mostly single line studies of the plan and elevation such as you might have produced in exercise 2. Note that similar architectural elements are grouped together by color and level so as to make the break down the study into more easily examined parts. Figure 3 describes a wireframe rendering of the geometry of the German Pavilion in three dimensions create by vector projection. Figure 4 describes a simple shaded rendering of the same geometry now visible as mostly solid geometry elements, such as "solids of projection" discussed with respect to Rhino. Your own project may begin to include some 3D geometries that require the used of both surface or solid modeling techniques that we have begun to explore in the discussion session workshops.

Figure 1: Plan Wireframe of Mies van der Rohe's German Pavilion.

Figure 2: Elevation Wireframe of German Pavilion.

Figure 3: Isometric Wireframe of German Pavilion.

Figure 4: Simple Shaded View of German Pavilion.

Developmental Sequence: Considering Geometrical Order in Your Approach

As you had done in exercise 2, re-examine the work of architecture or design in terms of its geometrical elements and order. For example, take note of what symmetries may be evident. It may be possible to use mirror, rotate, and copy operations within the CAD system to revisit these symmetries in 3D. Attempt to understand your project as a composition of abstract geometrical forms and consider how you might approach the modeling process as one of a sequenced assembly of operations. That is, see what you can do to start with simpler shapes and to apply the move, copy, mirror, rotate and scale operations. If applicable, explore the use of union, difference and intersection operations to apply Boolean logic to the construction of 3D model. Use layers as a way to further give organizational clarity and to separate out geometrical elements. You may optionally choose to explore the application of "blocks" (also referred to as instantiated figures) to work efficiently with repetitive components whic ; however, not that at the present time "Blocks" are not implemented as a part of the Grasshopper plugin to Rhino.

In order to get a feeling for how to schematically view the geometrical organization of a work of design, you may wish to again review some of the strategies evident the Precedents in Architecture textbook by Roger H. Clark and Michael Pause referenced in the last exercise. The textbook may tend to oversimplify some buildings. However, it develops a system of analysis with respect to a few geometrical organizing principles such as "Plan to Section", "Massing", "Unit to Whole", "Repetitive to Unique", and "Symmetry", that may be a relevant point of departure for a modeling exercise. Similarly, the D'Arcy Thompson's book On Growth and Form describes sequential geometry steps particular to case studies of plants and animals that may provide some examples of a procedural pathway for moving from 2D to 3D thinking.

As an important caveat, do not attempt to build a completely detailed model. Rather, take on an aspect of your case study and develop it abstractly with an emphasis on geometrical composition. We will later learn more efficient ways of handling details and reaching conclusions more concretely about what forms are present.

Submit a Rhino (.3dm) file for Part I showing the basic compositional elements of your design object. Submit a more abstract second Rhino (.3dm) file and at its associated Grasshopper (.gh) file for Part II.

Provide a short assignment description via email that corresponds to your drawing and that describes important levels, views, problems, and anything else of interest.

Place your Rhino and Grasshopper files in the "exercise 3" subfolder of the "submit" folder on CLASSES that you used for the prior exercise and then send email to Earl Mark, ejmark@virginia.edu and the SIA assigned to you describing within one or two paragraphs your efforts, anticipated goals, and insights into the geometry of your case study.