para(metric) fashion booklet

VahId EshraghI _ ArIan HakImI Nejad _ MICHELA MUSTO

catalogue 2014

PARA(metric)-FASHION


VahId EshraghI

is architect and photographer. He started studying architecture in 2002 at Islamic Azad University Tehran Central Branch. After

graduating bachelor studies he obtained rank 3 in entrance exam for graduate studies in field of Architectural Technology

in 2009 and entered university of Tehran where he had chance to probe into new computational design and manufacturing techniques, tools and theories. In 2011 he started a research

based design as his thesis based on algorithmic development of Iranian Islamic patterns and its potential for new implementa-

tion in architecture and structure. he started studying Master of Architecture and Urbanism at AA School of Architecture (Design Research Lab) where he had chance to learn from Patrik Schu-

macher as studio tutor and Theodore Spyropoulos and Alisa Andrasek as tutors. Working with patrik Schumacher who is a

distinguished theorist as well as the Zaha Hadid partner brought to him opportunity to learn and practice principles of parametr-icism and new generative design approaches. His studio project was on parametric semiology which aimed to propose a proto-typical system of design for a fashion center. He joined Zaha Ha-

did Architects in May 2013 where he was working on number of projects such as developing design of a complex façade for recently unveiled Zaha Hadid project, Macau 5 star Hotel and Casino. In the field of photography he is an experimental pho-tographer of nature and in 2007 was nominated photographer

of 10th Biennial Photo Exhibition of Iran.

ArIan HakImI NEJAD

is Persian Architect, Photographer & Painter. In 2004 he start-ed his undergraduate studies in India (U of Pune – MMCA), on

2006 he continued his further studying at (U of Tehran – Faculty of Fine Arts) from which he received his B.Arch. for his thesis

project (Persian Museum of Lost Arts) for that, he started prac-ticing Persian Glass Reverse Painting for 2 years which some of his paintings were shown in 2 exhibitions in Tehran.In 2011 he came to Barcelona to continue his graduate studies at IaaC – UPC, during his time in IaaC, he attended the Emergent Terri-tories studio by Willy Muller & Maite Bravo 2011-12, and his

research was on Future cities (how real time data could affect the shape of the cities), Where he and Diana Nitreanu present-ed the project for t he M.Arch I thesis, an extension urban zone Barcelona, where the buildings reshape themselves the several

data parameters. In 2012 he continued his further research on Solar houses with Jordi Pages I Ramon and Lluis Viu Rebes. With the concept of how the intelligence of architectural form of a building could affect the energy efficiency of the buildings.The project has been well received as an innovative solution on how the transformation of data in mathematics could optimize the architectural form.Since 2012, he started collaborating with Laboratorul de Arhitectura and as main instructor in Paramet-rica [Digi Fab School]. both from Bucharest, Romania. He has conducted two workshops: – PARAMETRIC DESIGN Workshop 6-7-8 July 2012 – Architecture in Fashion 11-12-13 Nov 2012. Currently he is working at Zaha Hadid as an Architect, where

he conducts researches in the various fields such as Bio digital Architecture and Parametric Design.

MIchela Musto

is an Italian architect and designer. Recently graduated as MSc in Emergent Technologies and design at the Architectural

Association (AA), researching on water symbiosissystems under the advisory of George Jeronimidis and Mi-chael Weinstock. The published dissertation ‘‘Water symbi-osis in the desert’’ is the last expression of her interest and

knowledge about sustainable, low-carbon emission con-structions. Her involvement with the world of architecture

come along a deep interest of computational sciences and 3D printing techniques.

She is co-founder and art director of the Académie d’art et musique of Naples, curator of its photography, art and design exhibitions. She had being working in fashion design and had

being curingthe stage costume for theatrical representation at Teatro Comunale di Ferrara. Had been architectural assistant at

Gramegna Architects in 2011 and had a long collaboration with the Magic Stones Real Estate in Italy.

She received her B. Arch. Degree from Università degli studi di Ferrara in 2011 and more than one certification relative to the research over the energy control in the building process. Her international experiences in the field of architecture and design let her to move further in the teaching and the focus-

ing of parameter- based design. Now she is a teacher and researcher in this field and a free lance architect in France.

OUR TEAM

PARA(metric)-FASHION PARA(metric)-FASHION

It has been always precedent that design methodologies in each field flows over others. As so, appearing of parametricism in architecture proposed tools and meth-ods along with a distinctive aesthetic sense which can be implemented in other design disciplines. In this regard disciplines in-volved in more complex geometrical chal-lenges such as fashion design are becom-ing more potent to take the advantages of computation.

Looking at human body as a complex built structure needs to be covered; a design research is set in form of series of workshops investigating how parametri-cism principles and methods can be asso-ciated with fashion design. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion criteria. In this way there are additional challenges such as body dynamism that parametricism has less chance to face with them in architec-tural discourses and they open a new field of possibilities.

In this regard the main workshop focus is placed on two parts of physical and digital experiments working in a reciprocal pro-cess to benefit the most of each other. In the physical part fabrication techniques and material behaviour will be investigated and in digital part simulation of physical experiments as well as computational con-cepts will be studied.

Additionally as the workshop approach demands certain knowledge of parametric tools and fabrication methods, prior to the main workshop a series of tutorial sessions are designed to transfer adequate knowl-edge of software such as Rhino-Grasshop-per and fabrication machines like Laser cutters and CNC machines. In this way students will be well equipped to deal with the various aspects of workshop research ambition and come up with novel designs.

Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers.

The agenda of this workshop is to inves-tigate on the overlap between these two areas of design, art & fashion.

Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.And while fashion is, by its very nature, ephemeral or ‘of the moment’, architecture traditionally has a more solid, monumental and permanent presence.

OUR PHILIOSOFY


The project PARA(metric) FASHION is organized in 2 parts seeking to create an inventive collaborative environment.

The workshop is part of a series of events, promoting computational design thinking and exploring the new possibilities of para-metric design.

The project is open for anybody interest-ed from all the fields of design, including: architecture, interior design, furniture design, product design, fashion design, scenography, and engineering.

1. COURSE MODULE

Type: A 4 days intensive course regarding basic knowledge in parametric design+ software: Rhinoceros & Grasshopper+ level: 1+ plugins: Kangaroo, Weaver Bird, Lunch box, Ghowl, Geco+ achievements: - acquainting to the components & the concept of Generative Design - understanding the strategies in Algorith-mic Design- how to easily insert simple mathemati-cal equation into the project to gain more control- how to utilize proper plugins with respect to their nature of the project- interacting with different analysis plat-forms such as Ecotect & remote controller - solving several exercises with different scales (2D-3D) during each phase of the workshop

2. WORKSHOP MODULE

A 5 day Design-Based Research Workshop exploring new techniques in Digital Archi-tecture and Fabrication, with a specific focus on the use of generative systems and parametric modelling as tools for creative expression. Our ultimate goal is to increas-ing the efficiency of utilizing digital tools in parallel with geometric performance of the primitive design agent.

+ + + + + + + + + METHOD + + + + + + + + +

Dealing with the workshop brief, students are requested to take one of two design methodologies; ‘Top-Bottom’ or ‘Bot-tom-Up’ approach. In Bottom-Up approach solitary units are studied to investigate their possible varia-tion through altering involved parameters. In the next stage the main focus is placed on types of aggregation and ways to gen-erate surfaces using the selected compo-nents.In Top-Bottom method students are asked to study human body fabric and look for ways of tessellation and pattern generation trough cutting, folding or hatching.

+ + + + + + + TECHNICAL BRIEF + + + + + +

In the early stages physical models and low-tech strategies will be used, allowing the participants to gain a greater understand-ing of materials, fabrication and assembly methods as well as simple, yet pragmatic structural solutions.

Later these strategies will be digitalized and elaborated using software visualizing tools such as Rhinoceros and the algorithmic plug-in Grasshopper. Finally, projects which have achieved the target level of develop-ment will move to the fabrication part, us-ing 3D printing or laser cutting, in relation with the development of each group.

+ + + + + + + + + + TOPICS + + + + + + + + +

- Analysis of computational geometry (How to decode geometry)- Understanding potentials and restrictions - Strategies for further development (Growth algorithm)- 2D-to-3D Techniques (slicing, contouring, triangulation) that exploit the flat logic of cutting tools- 3D printing (Makerbot)- Process into Design (Documentation)

+ + + + + + + + + OBJECTIVES + + + + + + + +

Following the research ambition and through the design process the workshop is aiming to establish a comprehension of -Generative Design concept-Algorithmic Design strategies-Experimental base design process-Mathematics role in design through deal-ing with geometries.-Material behavioUr through cutting, hatching, folding and so on

So far, Architects have been using tech-niques such as folding, bending etc. to create space, structural roofs or different other structural shapes.The agenda of this workshop goes further with the investigation of algorithmic think-ing through generative tools Integrated in design.The challenge is creating a bridge that connects these two areas of design, archi-tecture and fashion that perform at two opposite scales.

+ + + + + + + + + MATERIALS + + + + + + + + The range of material includes:- Paper, cardboard- Felt, leather- Plexiglas, hips- Polystyrene- ABS

+ + + + + + + + +SCHEDULE+ + + + + + + + +

The workshop is designed as a team base one and consequently the duration of 5 to 7 full working days provides enough time for students to finish their work. Following the working days there is one presentation day in which student have chance to pres-ent their work and criticized by a distin-guished jury.Additionally and prior to the main work-shop there is a 4 day software tutorial focusing on Rhino, Grasshopper and other necessary Rhino plug-ins. This is to improve related computational skill of students and prepare them for a more productive work-shop.

OUR PROPOSAL


PARA(METRIC)-FASHION

WORKSHOP

01 APRIL- 03 MAY 2014

TEHRAN, IRAN


STUDENT 01. KHALEGIAN

The concept is based on the idea of real-ising a modular dress, flexible and able to fit every possible size. The unlimited possi-bilities that the aggregation on the single component is providing will allow to ena-ble every different movement of the hu-man body. The ability to personalise and to adapt the pattern time by time one of the driver that directs the design of this unique experiment of parametric design.

The catalogue of components is based on the variation of parameters affecting the dimension of every single part of them. The folding points, the variation of direction of the folding, the length of each side are all affecting the emerging pattern. Another characteristic part of those elements are the joints. Each elements is studied to be assembled mechanically and each of them is studied in relation to the direction of the movement of the body. A variation related to the components are the holes that add a gradient of transparency to the 3D surface of the dress.

The code from which the elements are emerging is starting from single primitives: curve and points that are controlled by the graph mapper. The interaction between the distance of the geometries and the use of domain help the control of the final re-sult.

The result is a digital and physical cata-logue of components that can be assem-bled achieving an astonishing variety of 3D dynamic surfaces able to adapt themselves to the shape and the movements of the human body. The poetry that emerge from a simple component is coming from an at-tentive control of every characteristic of the objects. The study of the joints as the gradient of transparency enrich this com-plex fashion item adding a level of com-plexity which make it an interesting input to further developments.

01 . MUV


01 . MUV


student 01. NILOOFAR

student 02. NAHAL

STUDENT 03. MOSTAFA

The research in this design project is based on the exploration of the behaviour of the material in relation to the geometry of the cutting applied on the surface. The challenge is to manage to create different configuration for each movement of the body. The notable result is that with spe-cific design of the wide of the material the obtained pattern are double and identical. Being the movement embodied naturally in the structure of the body the result of this idea prove to be more than interesting.

The catalogue in this case is composed not by components but by patterns. Start-ing exploring the more linear and essen-tial cutting, the tests then evolve creating more articulated and smooth one. A par-ticular attention was related to the densi-ty and the distance between the different component of the pattern. The variation of parameters affects so not just the vari-ation of the pattern but the hole result of the design. Not all the patterns nor all the variations of the same pattern allow the same movement and can affect the entire dynamism of the surface.

The physical model simulating the dress it-self was studied for the specific 2D rotating movement of the arm and shoulder. An-other test started instead in the lower part of the body using the rotation of the leg.

The result is a really interesting and valua-ble physical model ready to be translated in a more adequate material. The digital research in this case were representing a proper tool to improve the physical result.

02 . folDIng collaR


02 . folDInG collaR


student 01. NILOOFAR SOORAKI

The concept developed in this design pro-ject is to explore the possibility of a sim-ple geometrical primitive with three single wings. The number of the different varia-tions on this theme are significant as sig-nificant is the amount of parameter taken into account.

The ability of regenerate the code consid-ering the wing extension, the angles, the centroids, the offset of the edges the gra-dient of proportions is endless. Although the 3D geometry of the components var-ies, the system remains coherent with the chosen primitive. The 2D design obtained by the computational simulation are trans-lated into cutting lines that will define the folding parts. The convex and concave area are defined accurately.

The physical model is based on the aggre-gation of components according to their joints. As the catalogue achieved counted a big number of elements, the action of se-lection become crucial for the achievement of the 3D dynamic surface. In this choice the geometry of the joints which have to be able to allow a mechanical and coher-ent union among the single parts in order to create a unique and wearable object.

The result is an interesting 3D flexible and modular structure able to be expanded un-til covering the whole body. This reversible system allow to calibrate the length and the coverage of the dress. Simply adding or removing mechanically the single compo-nents an endless variety of configurations are achievable. The technique proved to be efficient and extremely functional.

03 . COMPLEX SURFACE


03 . COMPLEX SURFACE


04 . NAM

student 01. AMIR HOSEIN BAZIANFAR

student 02. MOHAMMAD GARMENJANI

STUDENT 03. NIMA NIAN

Fashion is a popular and distinctive style or trend. Although some trends are femi-nine or masculine, some then are androgy-nous. The proposed system emerges from top bottom approach which explore at the same time the surface covering the body constituting the dress and simultaneously the different patterns that will be laser cut in the enrolled surface.

Metaballs are, in computer graphic, organ-ic-looking n-dimensional objects. The tech-nique for rendering metaballs was tested by Jim Blinnin in the 1980’s. The research in this sense had been directed to find a more efficient falloff function which requires sev-eral qualities as a finite support, that cre-ate a hierarchical culling system and the smoothness that avoids the formulation of expensive square roots calls. The linear solution that had been achieved is to apply the falloff curve to distance-from-lines or distance-from-surfaces.

The physical model had represented a sec-ondary stage and is due to be explored in further researches. The complexity of the digital exploration gave life to geometries hardly manageable in the physical model.

The result is a deeply complex parametric pattern applied to an unrolled surface con-stituting the dress. A deep exploration of generative algorithm had let to different option of design. The physical model, re-alised with cardboard and laser-cut led to test not only the design of the pattern but also its density and its interaction with the human body.


04 . NAM


1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point

Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Point

1)Type: 1Dis : 0.2 mU/V : Div : 15*10 m

Type: 1Dis : 0.2 mU/V : Div : 15*10 m 1)Type : 1Dis X : 0.2 m Y : 0.2 mSize Box : 0.2*0.5 mU/V : Div : 15*10 m

Type : 1Dis X : 0.2 m Y : 0.2 mSize Box : 0.2*0.5 mU/V : Div : 15*10 m







1)Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Curve

Type: 1Radios : 0.38 mU/V : Div : 15*10 mAtt Type : Curve







1)Type: 1Radios : 0.38 mU/V : Div : 15*10 m

Type: 1Radios : 0.38 mU/V : Div : 15*10 m



05 . MOIRE PATTERN

student 01. AMIR HOSEIN BAZIANFAR

student 02. MOHAMMAD GARMENJANI

STUDENT 03. NIMA NIAN

The essence of the moiré effect is the perception of a distinctly different third pattern which is caused by inexact super-imposition of two similar ones. The mathe-matical representation of these patterns is not trivially obtained and can be somewhat arbitrary. We shall give a physical and com-putational example of two parallel patterns whose superimposition forms a moiré pat-tern, and show one way (of many possible ways) these patterns and the moiré effect can be obtained mathematically.

Moiré patterns are often an artifact of images produced by various digital imaging and computer graphics techniques. The goal was to achieve this effect using the natural dynamism of the human body. Un-derstanding the range and the directions of the movements the design adapt itself in order to maximise the moiré pattern.

The computational tests begin with the it-eration of simple geometric primitives and develop its design altering the attraction points. The overlapped alternation of emp-ty and full part of the surface give life to unpredictable third pattern that use the transparency to create new optical design.

The physical model, the unrolled surface with laser cut computationally generated patterns, is studied to enhance the spe-cific dynamism of harm and shoulder. The achievement of a coherent Moire effect requires a precision in the combination of the two layers that have to move coherent-ly and in a specific range.

The challenge of using this concept for the system shoulder-arm penalise the original idea that could have more easier applied to the movement of the legs for a skirt or a trousers. The balance between digital re-search and physical model is successfully achieved.


05 . MOIRE PATTERN


06 . INTERACTIVE COMPONENTS

student 01. SAZEGARA

student 02. RAHIMI

STUDENT 03. KHOSRAVI

The approach explored in this project tend to reach the dynamism not only by the in-teraction of the single components among them but by the behaviour of every single component. Every single element is the combination of two layers that recreate a unique interactive components. The rota-tion and the sliding in the x direction of the upper portion of the component enhance the opening revealing the bottom layer. The biomimetical inspiration of the flower geometrical behaviour appears clearly in this project.

The computational experiments are strict-ly related to the result of the physical mod-el. The particularity of the dynamism of the component of the surface is the trans-mission of the movement from element to element. The translation of the two layers affect the behaviour of the adjacent couple of layers. This create a coherent transform-ing surface with a high level of complexity.

Due to the function of the joints that have the role of transfer the movement and to constrain it only in the needed direction, the research made in this sense was crucial for proper success of the design. More ma-terial had been tested and more configura-tions remained possible.

The result is a system that prove to work and a deep knowledge and understanding of the dynamic of the single components. Due to the complexity of the design and its dynamism the model is not defined in its overall geometry but is ready to be im-proved and completed in further develop-ments.


06 . INTERACTIVE COMPONENTS


ACTION . . .


ARCHITECTURE IN FASHIONARCHITECTURE IN FASHION

ARCHITECTURE IN FASHIONWORKSHOP

STUDENTS

ARCH ITECTS

AR IAN HAK IM I NEJAD ( IRAN)ARCH ITECT (ON-A , SPA IN )D IANA N ITREANU (RO)MAA10 ARCH ITECT( IAAC , SPA IN )

URBAN DES IGNER

LANDSCAPE DESIGNER FASH ION DES IGNER

WINTER WORKSHOP SERIES

LABORATORUL DE ARH ITECTURA& PARAMETRICA INVITES YOU TO PARTICIPATE IN THE ARCHITECTURE IN FASHION WORKSHOP, SEEKING TO CREATE AN INVENTIVE COLLABORA-TIVE ENVIRONMENT.

PARAMETRICA

Locat ion > M ircea Vu lcanescu St . , no .27 , Sector 1 , Bucharest , Roman iaMo re I n fo , fe e l fre e to co n ta c t : 0722 86 06 87

ARCHITECTURE IN

FASHION

WORKSHOP

11 - 13 NOVEMBER 2013

BUCAREST, ROMANIA


01 . THE BEEHIVE

STUDENT 01 . Hamed Karami

The concept was based on the shape of the hexagon beehive. The primitive com-ponent studies based on a simple triangle being divide from its centroids & folded at its end. Second stage was to understand the con-trol parameters which effect the geomet-rical performance of the component & a physical catalogue was provide for better visualization in variation.

3rd stage was to combine the primitive components to understand its behaviour in terms of curvature & analysing/calibrating its growth algorithm.

During this stage some mutated compo-nents has to evolve from basic component catalogue, in the form of joints between prototypes. The last stage is to assembly the prototypes on the defined geometry. Human body”


01 . THE BEEHIVE


02 . ADAPTIVE SPINE

student 01. mostafa shadkam

The idea was to create a repetitive com-ponent which had a possibility to deploy it and to make it extendable rather than be-ing unrolled. Further studies on the com-ponent came into the possible horizontal/vertical development and due to the na-ture of the paper & its folding creases it gives the opportunity to get the curvature and twisting at the same time.


02 . ADAPTIVE SPINE


03 . SPRING CLOTHES

student 01. mohammad seijani

The whole dress comes from a square base primitive with 3 folds.

A straight forward catalogue produced to analyse the geometrical performance of the component through different control point displacement & angle variation. Due to its unique form it has the potential for cross joining growth path, which later on could developed into 4 wing joint. With a simple rotation in join it could merge into another component & create a pattern shift. Symmetrical growth with full control over the opening it overlay the body sur-face & the final product has the potential to be utilized in different scale & different function.


03 . SPRING CLOTHES


04 . ITERATIVE COMPONENTS

student 01. niusha tayyebi

The exploration of this design started wit a simple primitive, the square. The ma-nipulation of this geometry gave life to stars-similar components. The convex and concave surface of this component are generated with the laser cutting tool. The bending became crucial for the design of the components. A dense catalogue of pro-totype had been created manipulating the parameters involved in the geometry. The control points variation allowed to drasti-cally modifying the physical model.

The research focused then in obtaining geometries with more or less stiffness that let to the creation of a list of compo-nents. Considering the complexity of the overall surface the problem of how to join the different components became crucial. Mechanical joint of different material had been tested until deciding for another ma-terial to be used.

The star shape allow a certain degree of dynamism in the dress able to follow the shape and the movements of the human body. The contraction of the element also allow to achieve a system which is custom-ised to have more rigidity and stiffness in some parts and more flexibilty where this was required.


04 . ITERATIVE COMPONENTS


06 . STAR WORLDS

student 01. donyaa amiri

The single components that are part of the catalogue started simultaneously exploring a single square components and adding folding and variation to it. This strategy is used to add level of complexity that can create more interesting geometries. The aggregation of those primitives manage to appear as an unique surface. Is at this stage of the design that the idea of devel-oping a simple components merges with the idea of exploring the patterns. A similar miura-ori pattern start to emerge. The ex-ploration at this stage moved into the cre-ation of a pattern that could create a multi curved surface. Realising the complexity to realise a modular pattern for all the part of the body the ‘‘pattern approach’’ was left behind to come back to the component catalogue. The computational experiments are strict-ly related to the result of the physical mod-el. The particularity of the dynamism of the component of the surface is the trans-mission of the movement from element to element. The translation of the two layers affect the behaviour of the adjacent cou-ple of components. This create a coherent transforming surface with a high level of complexity.

Due to the function of the joints that have the role of transfer the movement and to constrain it only in the needed direction, the research made in this sense was crucial for proper success of the design. More ma-terial had been tested and more configura-tions remained possible.


06 . STAR WORLDS


ACTION . . .


ARCHITECTURE OF

DIGITAL FASHION

WORKSHOP

23 - 27 APRIL 2014

TEHRAN, IRAN


01 . NONEYCOMB

student 01. AMINA AL-ADHAMI

The first step of this project was to consid-er the morphology of the human body and elaborate a pattern that could be adapted to it. The proposed texture is easily adapt-able to multiple shape and can be easily transformed to better fit any body shape.

The material properties are considered when choosing the pattern and its position over the body. Depending on the number of cuts the material is able to acquire flexi-bility or more stiffness.

The fabrication process involved the use of laser cutter technology and 3D printing machines. In order to better adapt the 3D pieces to the flat surface of the laser cutter small bases had been attached to the 3D pieces.

This project is realised with the Rhinocer-os software and its plug-in Grasshopper. The definition which was realised had been constantly modified along the building process to fit the multi curved surface of the human body in order to get different configurations. Any slight change in the pa-rameters produced visible and important differences in the output. The results were compared and the most suitable had been chosen as final configuration.


01 . NONEYCOMB


02 . OCTOPUS DRESS

student 01. Calina Griguta

This project started with the pattern doc-umentation. Trying to find the most in-teresting variation of the circular geom-etry according with different attractors. The diversification of the radius had been observed using primitives as attractors: points, curves, surfaces.

The Rhinoceros software had been used to create an homogeneous surface and its plug-in Grasshopper had been essentiall to manipulate the surfaces. Starting from a small square grid of 5x5 diamonds pan-els were applied. Another experiment was then considering a triangular grid. On this base multiple dimensions had been tested: 5x10, 10x10, 10x15, 15x15.

After considering multiple curve attrac-tors the best result had been selected and randomly some circles had been extruded with different height until the desired re-sult had been achieved.

According to the specific body parts, this model had been conceived in order to be customised so that the concept can be eas-ily read. The number of rows can increase or decrease both vertically and horizontal-ly. The same structure proved to be suita-ble in different scales. A dress, a bracelet, a necklace and a belt were all realised fol-lowing the same concept.

The physical model had been realised us-ing the laser cutting technique and the 3D printing tools in order to obtain the most suitable result for a dress ready to wear.


02 . OCTOPUS DRESS


03 . THE TRIANGULATOR

student 01. larisa si ida

The aim of this project had been to deep-ly explore the possibilities of the triangu-lar primitive. The digital experiments had been set up according to the variety of parameters related to the alternation full/empty and add more faces to the simple geometry. Another concept that had been added is the idea of fractal. Starting with a single triangle, others had been carved inside the same boundaries.

Even if the simple component is quite rigid, its variation and the combination of more elements proved to be truly efficient in the creation of a surface.

One of the main difficulties had been to set joints in order that every component could much perfectly. The sharp point shape proved to be the better solution, even if not the simpler one. According to the num-ber of components joining together and to the shape of each of them the angle of the components should change. The folding also have a weight in the realisation of this geometry as they can customise the angle of the adjacent part.

The result is a system that prove to work and a deep understanding of the possibili-ties of aggregation and development of the single component. A complex design had been achieved with the use of laser cutting and digital softwares. The overall geometry is ready to be improved and completed in further developments.

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student. 01. Ratoi Larisa

student. 02 chiatante ida

01 .The triangulator


03 . THE TRIANGULATOR


04 . ATTRACTOR RESPONSIVENESS

student 01. lIDIA RATOJ

The process of realisation of the Attractor Responsiveness didn’t start from a specific concept to realise. The aim was specifical-ly to apply the digital tools acquired dur-ing the classes of the workshop. The idea emerged together testing the endless pos-sibilities of the digital process and realising how much they were able to affect and to-tally change the physical model.

The study started applying different el-ements to a simple surface. The fist step was to apply a square grid of seven by sev-en. Successively the research continue re-alising a pyramid with the base fitting the unity of the grid and to deform it. Once reproduced the 3d elements for all the components of the grid some primitives as attractors, points, curves and surfaces. The variations are tested even in the z axis transforming the height of the components that has been later sectioned with different objects such as deformed spheres or other pyramids.

The aim had been at this stage to strategi-cally place the attractors so that the mod-ules will flow along the human body. But the lack of this strategy is the excessive concentration of attractors and the weight of the flow. The result was chaotic. So the attempt became to create with the attrac-tors a visible effect from the top view.

‘’I consider that the challenge of the work-shop was not to get carried with the attrac-tor flow as this enhance the deformation from all the perspectives. We were warned about the danger of not being able to de-cide on a form because all the possibili-ties, are so easy to generate digitally. In my opinion, it is hard to keep the things rela-tively simply when it’s so hard to compli-cate them.’’


04 . ATTRACTOR RESPONSIVENESS


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