Testing and Defining a Complex Design Through Digital and Physical Models

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This paper presents the methodology adopted in an application of shape optimisation and digital fabrication conducted in the field of wooden furniture design. Experience has allowed the authors to define the models that support the creative process, identifying their respective peculiarities and their contribution to the design process as a process of experimentation, which takes place between digital and physical, not only defining the form of the idea but also correctly representing the tested model and its use, and allowing a dialogue between the stylistic requirements of the designed shape and the technical needs of the built one. The phases of the methodology are applied to the project of furnishing the lounge bar and restaurant area of the Oasis Skyview hotel in Doha (Qatar). The coordinated dialogue between the different models allows the definition of the design project, creating a workflow that significantly reduces the distance between the project and construction.

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As physical prototypes and models can solve many design issues during the New Product Development (NPD) process, it has been introduced as an essential course in many design schools. With the advancement of 3D CAD technologies students find it easier to make digital models, but they find the physical prototyping and model making difficult. This difficulty arises due to lack of understanding of materials, processes and product form correlation required for physical prototyping. In order to address this issue, a tool has been developed and introduced to design students. The tool would guide them to select materials and processes, based on the product form. The tool is a matrix of variables viz. product form, processes and materials. To formulate this matrix, altogether three hundred fifty numbers of products were considered, and clustered them according to their form and processes. On this basis, possible materials have been identified for fitment and suitability of the processes. The tool has been tested with two groups of design students in the course of 'modelling and simulation'. The effectiveness of the tool has been analysed by conducting an independent t-test and also the Felder-Silverman Index of learning. It has been observed that the tool is highly effective. This paper discusses this effort in details.
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Tessellation plays a significant role in architectural geometry design, which is widely used both through history of architecture and in modern architectural design with the help of computer technology. Tessellation has been found since the birth of civilization. In terms of dimensions, there are two- dimensional tessellations and three-dimensional tessellations; in terms of symmetry, there are periodic tessellations and aperiodic tessellations. Besides, some special types of tessellations such as Voronoi Tessellation and Delaunay Triangles are also included. Both Geometry and Crystallography, the latter of which is the basic theory of three-dimensional tessellations, need to be studied. In history, tessellation was applied into skins or decorations in architecture. The development of Computer technology enables tessellation to be more powerful, as seen in surface control, surface display and structure design, etc. Therefore, research on the application of tessellation in architectural geometry design is of great necessity in architecture studies.
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The role of prototypes is well established in the field of HCI and Design. A lack of knowledge, however, about the fundamental nature of prototypes still exists. Researchers have attempted to identify different types of prototypes, such as low-vs. high-fidelity prototypes, but these attempts have centered on evaluation rather than support of design exploration. There have also been efforts to provide new ways of thinking about the activity of using prototypes, such as experience prototyping and paper prototyping, but these efforts do not provide a discourse for understanding fundamental characteristics of prototypes. In this article, we propose an anatomy of prototypes as a framework for prototype conceptualization. We view prototypes not only in their role in evaluation but also in their generative role in enabling designers to reflect on their design activities in exploring a design space. We base this framework on the findings of two case studies that reveal two key dimensions: prototypes as filters and prototypes as manifestations. We explain why these two dimensions are important and how this conceptual framework can benefit our field by establishing more solid and systematic knowledge about prototypes and prototyping.
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In this paper, the surface tessellation problem is explored, in particular, the task of meshing a surface with the added consideration of incorporating constructible building components. When a surface is tessellated into discrete counterparts, certain unexpected conditions usually occur at the boundary of the surface, in particular, when the surface is being trimmed. For example, irregularly shaped panels form at the trimmed edges. To reduce the number of irregular panels that may form during the tessellation process, this paper presents an algorithmic approach to restructuring the surface tessellation by investigating irregular boundary conditions. The objective of this approach is to provide an alternative way for freeform surface manifestation from a well-structured discrete model of the given surface.
Architect Mark Burry offers a personal account of his adventures in the world of applied architectural geometry — a journey that has gone from a solo experience to a shared experience. Since the first events, he has been an extremely influential and inspirational part of the Smartgeometry (SG) community, especially relating to his work completing Gaudí's unfinished masterpiece, the Sagrada Família Basilica, using bespoke digital tools. In this chapter, he reflects on over two decades of engagement with what he regards as an elusive concept: emerging digital architecture. He discusses how his work has gone from descriptive geometry, through computing and analyzing geometry, to a collective notion of ‘smart’ geometry.
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