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Figure 2
The decomposed patterns
are 3Dprinted as blocks in
order to observe the physical
reflection.
patterns were chosen for further studies (Figure 1). multiple ways of seeing (Stiny, 2006). It has been
In the selection of patterns, the focus was on com- observed that when the complexity of the pattern
positional qualities, such as proportions, symmetry, is higher, the visual analysis takes a longer period;
formal adaptability, or level of intricacy. The patterns on the other hand the systems generative potential
provided the initial visual and compositional layout greatly increases. The factors that contribute to this
for the designs. In other words, the aim was to link increase include seeing different shapes and decom-
the physical objects to visual information. posing into different representations, such as planes,
The analysis of the patterns included two-dimen- lines, or points. The implicit information regarding
sional decompositions into units followed by the the making of the artifact seems to alter this phase
rapid-prototyping of blocks to observe the physical of design. It has been interesting to see that the
results of the visual decompositions (Figures 2 and presupposition of future fabrication highly affects
3). The pattern composition is rationalized as a unit- the way designers visually think. In other words,
based system considering unit complexity, propor- the visual and the physical start to feed each other
tions, and unit variability. The decomposition pro- at very early stages in design; the mode of thinking
cess involved visual computing, which introduced for designers is altered accordingly. A second set
Figure 3
The visual decompositions
provided relatively successful
structural outcomes where
the blocks are simply held in
place by gravity.
Figure 5
(a) The structural input
rapidly alters the visual de-
composition and produces un-
expected results. (b) Multiple
ways of seeing the units. (c)
The two layers incorporate
two different decompositions.
The system is refined by fram-
ing. (d) Two layered masonite
prototypes
of prototypes was produced to test a more refined more complex geometries. In particular, the idea of
solution regarding the border conditions for a wall structurally interlocking the units brought visually
screen (Figure 4). novel and unexpected results (Figure 5). It also of-
fered the idea of layering. The layering idea was test-
Phase two: materializing design through ed in two-layered and three-layered structures with
visual and structural input laser-cut masonite models and 3Dprinted blocks
Decomposing with structural concerns brought on (Figures 6 and 7).
Figure 6
The laser-cut masonite pro-
totype displays the units and
order of assembly.
Figure 8
(a) Conceptual model
displaying layers. (b)
Additional inspirations from
nature. Layering provides
dynamism with additive vari-
ability and growth.
Phase three: Materials, optimization, and The system was tested with a 4 tall prototype
refinement built with laser-cut cardboard pieces (Figure 9). It
The third phase included material choices, specific revealed that high complexity could be achieved
structural decisions, and joint design. The idea of a rapidly and small manipulations can be easily in-
self-supporting timber wall brought in the design corporated during assembly. The initial purpose of
of friction-fit joints in a layered structure. Additional layering has been to liberate the growth of the ex-
inspiration for layering came from nature (Figure 8). ternal layers. Moreover, it introduced a novel result
The idea of layering evolved into a three-layered by providing freedom in the treatment of border and
system: a structural, tessellated layer sandwiched opening conditions. The external layers and structur-
in-between standardized units. Units snap onto the al layers are relatively liberated from each other by
front and back of the structural layer. Depending the placement of joints. Freeing the pattern from the
on the desired complexity, compositional or func- frame has allowed new approaches on the edges.
tional variations, the external layers can be altered.
This property of the system provides growth and Final prototypes
complexity regarding form. The logic of the faade The final prototypes are 12 high assemblies of laser-
composition can be random or it can respond to a cut cardboard (Figure 9). During the construction of
function. Geometrically the tiles can be customized, the final prototypes, many structural decisions have
or the underlying tessellation can be manipulated. been refined and optimized (Figure 10 and 11). The
Utilization of different materials i.e. glass would order of assembly has been designed at this phase.
enhance complexity. The system has been satisfactory in providing high
Conclusion
variability both structurally and visually. Obtaining Prototyping has introduced four aspects that force
this variability was important as a design decision, designers towards productive conflicts in their de-
but it was also critical in terms of this experiment: a sign processes: material choices, structural deci-
generative system with various possibilities would sions, order of assembly, and production techniques.
yield more about designer activity and decision- The integration of construction and assembly sig-
making, the observation of which was also one of nificantly alters the way designers produce. As ob-
the main goals. served, the visual analyses of the patterns helped to
Different compositions exhibited a requirement define new structural components and assembly.
for local and unique solutions. The final composition Meanwhile, the structural considerations produced
with openings would require a number of custom visually complex and counter-intuitive decomposi-
pieces regarding the structure (Figure 12). However, tions. The design process involved a reciprocal ac-
the production of these pieces is straightforward tion between the visual and physical realms which
both due to the tessellation, and the rapidness of continuously fed each other, were highly productive,
fabrication tools. Prototyping allows designers to and led to creative novel results. The experiment illu-
craft these unique solutions into their artifacts. minated that many design ideas and intentions from
the early to the late phases overlap. In this sense,
designers are increasingly producing in a non-linear
Figure 10
(a) Final wall assembly of the
artifact with custom openings.
(b) The order of assembly:
1) The vertical pieces are in-
serted in the structural units.
2) Structural units are locked
with the external unit. 3) The
external units are adjusted. 4)
Many layers can be defined.
Figure 12
(a) The opening detail shows
the structural custom piece.
(b) A gradient overlay is de-
fined in the background layer.