3D ASSEMBLAGE
Sheet Music - Nuvole Bianche by Ludovico Einaudi
First four bars in treble clef were selected.
{F F E D C D E C B B A A A A E D C D E C C D C B B A }
Notes were transcribed to numbers according to where the note is positioned on sheet music.
10 10 9 8 7 8 9 7 6 6 5 5 5 5 9 8 7 8 9 7 7 8 7 6 6 5
PRECEDENTS
Archistorm. 2020. Magazines Archive - Archistorm. [ONLINE] Available at: http://www.archistorm.com/magazines/. [Accessed 02 April 2020].
Pinterest. 2020. N. 195 Carmody Groarke 2009 2018 | Croquis, Instagram, Atelier. [ONLINE] Available at: https://www.pinterest.com.au/pin/491525746827487625/. [Accessed 02 April 2020].
Cosentino Canada English. 2020. ToHA by Ron Arad and Avner Yashar with Dekton in the heart of Tel Aviv : Cosentino Canada English. [ONLINE] Available at: https://www.cosentino.com/en-ca/top-projects/toha-ron-arad-dekton/. [Accessed 02 April 2020].
Pinterest. 2020. Lyon | Santiago calatrava, Architecture design, Space architecture. [ONLINE] Available at: https://www.pinterest.com.au/pin/283656476503274801/. [Accessed 02 April 2020].
DOMUS: the Magazine for Architecture, Design and Art Lovers. 2020. DOMUS: the Magazine for Architecture, Design and Art Lovers. [ONLINE] Available at: https://www.domusweb.it/en.html. [Accessed 02 April 2020].
PROCESS
ITERATION 1
RULES
* each wooden piece represents one number (musical note)
* each wooden piece is the same width (30mm)
* in a clockwise direction, each piece is placed in this cross pattern moving upwards
* if a note repeats it is placed directly onto of the same note, with the same orientation
EVALUATION
# in this first iteration I pulley's inspiration from Iteration 16 of my 2D, I follow the cross like composition
+ the repetition in the model is really clearly shown through the identical stacking of one piece on another
+ from each side of the model there is a very different view, a completely different picture is created
+ both the side views and the birds-eye view are interesting to look at
+ each piece, and how it is placed next to or on top of one another creates intriguing negative space within the model
- each piece is positioned with the same side (in this case the 'top' of the skirting board) facing upwards, this is a very repetitive image - could try turning the pieces on their side or upside down to allow for a more varied understanding of each wooden block
- it is a very linear structure, it has formed a 90 degree cross, a more unique model could include a wider range of orientations
- each piece is the same width which adds to the lack of variety in the overall model (however this equally is quite satisfying to the eye)
- in image 1.2 the elevation of the pieces at the front, where there is no structure underneath, I think is a really interesting quality and I would like to further explore having more negative space at the base of the model
ITERATION 2
RULES
* each wooden piece represents one number (musical note)
* each wooden piece is 20mm wide
* every time there is a number 7, the pieces flip from either bottom side or top side facing up until the next number 7 (musical note C)
* there are only four blocks per level
* when a number is repeated the block faces the same orientation, if not it alternates between pointing left or right
EVALUATION
# in this iteration I made the blocks smaller, and continued with the stacking technique, however worked with flipping the blocks onto their back
+ the negative spaces created by flipping each piece onto a different face offer new interesting shapes
+ like in the previous iteration the moments of repetition are very obvious with the stacking of the blocks which I think works well, as this equally highlights the moments of variation
- the extrusions in the model are interesting however the structure as a whole is very congested and I would like to attempt to space the pieces out and allow for more voids and negative space within the model
- the continuous 4 blocks for each level is quite basic, this could be improved by having more variation in the number of blocks for each level
ITERATION 3
RULES
* each wooden block represents one number (musical note)
* half of the blocks are 40mm in width, the other half are 20mm in width (both same length - 65mm)
* the blocks are placed in a clockwise direction starting from the bottom
* every second block is a 20mm block
* when a number repeats it uses the same width block and is placed directly on top
* the first block on each new level (that is not a repeat block) orients itself pointing directly outwards (perpendicular to the other block)
EVALUATION
# I incorporated from Iteration 1 and 2 the different sizes in blocks, combined them here, and continued with a cyclical stacking formation
+ I like the void that has been formed throughout the base of the model, it shows clearly the centre point that the pieces revolve around
+ the spaces where the pieces point out of the four flat sides create interesting spaces that connect to the void in the centre
+ I also like the burn marks that were accidentally made on the top block of this model
- the repetition of blocks makes the model quite simple at places, this could be improved by making the rules for repetition more complex (different orientation or shape)
- the difference in the width of blocks is lost by the immediate stacking on top of one another, new positioning would make this variety and block width more prevelant
ITERATION 4
RULES
* each wooden block represents one number (musical note)
* each block is the same shape and size
* when a number is repeated it joins together to form an 'arc' (a piece overlapped at the end of another piece at opposing angles that meet and form an arc / or incomplete triangle)
* if a number is repeated more than twice it goes on to form another arc consisting of the next two blocks of repeated number
* from left to right the blocks are placed
* blocks that are not repeated are placed on-top of one another --> every second block points the opposite direction and is flipped onto the opposite facing side --> this is followed until the next repeat where an arc is placed back at the bottom
EVALUATION
# I pivoted here by incorporating a new type of shape, the parallelograms, however in using these shapes I found there to be more limitations when trying to create height to this model, this meant that I changed more rules in order to make this model stand. Equally I think I was curating this model subconsciously because of the difficulties in joining these shapes.
+ by changing the shape of the blocks a completely new model is created
+ I like how the aerial view of the model looks completely different to the front facing view
+ not only do the shape of the blocks make this an interesting composition, the lines and indents on each piece add further detail
+ I like that there is both height and width to this model
+ you can easily spot moments of repetition, but the repetition itself is intriguing, this was achieved by making the repetitive notes this arc formation, this gives negative space to the base of the model
- the aerial view of the model is a bit boring in comparison to the other faces
- the model is a bit predictable in the repetition of the single blocks facing opposite sides going up, this could be improved by giving the blocks that don't repeat more variety and uniqueness to one another - I might try assigning specific rules to each single number
ITERATION 5
RULES
* each wooden piece represents one number (musical note)
* each wooden piece is the same width and length parallelogram
* number 10 blocks are triangles
* the model works up from the bottom, each piece is placed on-top of another
* repetitive numbers are on the same level
* each level jumps between two different orientations, one is straight to the base and the next is diagonal to the base
EVALUATION
# in this iteration I continued to use the parallelogram as the main shape for each block
# I tired working more vertical, where as in the previous iteration it had length and height
+ I like the opposing orientations on every second level of the model because you can clearly see the progression of the music through this
+ it follows a very straight forward sequence of starting from the bottom and moving up
+ a happy accident, the glueing made the model stand on a slant, however I think this adds more interest to the model
- equally this straight sequence is quite predictable and linear which I don't think is very unique
- structurally this was a very difficult model to build as the pieces didn't balance well on-top of one another
- I thought I would add extra details to this model by giving the rule that each level where there is repetition, the blocks must be positioned with a different face of the block facing up, however I found this just made the repetition less easy to notice
- I think this model has backtracked which I didn't want, it has ended up appearing much more simple than previous iterations
ITERATION 6
RULES
* working in a circular motion, the pieces are placed one next to another, once the model reaches a full circle the next pieces are placed on-top of the previous circle of shapes
* each single number (musical note) - parallelogram
* each number 5 (musical note A) - triangle
* each number 6 (musical note B) - rectangular block with indents facing down
* each number 10 (musical note F) - rectangular block with indents facing up
EVALUATION
# in this iteration I continued to use the parallelograms as the main shape for the blocks but really tried to explore a model that would integrate diverse individual shapes
+ I like that this iteration is so different to previous iterations, in that it's overall shape is very unique
+ some really interesting negative space is created directly in the centre of the blocks, I like this creation of a large void
+ the diversity of shapes offers more variety and difference in this model
+ there is a nice flow on effect of the blocks, especially in the repetition of parallelograms in this circular motion
- I don't like that it still feels a bit 2D, due to there not being very much width overall, if I added more numbers (musical notes) to the sequence this could be further explored
- in making this iteration I found using parallelograms very difficult, they are hard to glue together in some ways and are a bit restrictive in the positing possibilities
ITERATION 7
RULES
* each rectangular block represents one number (musical note)
*the blocks are placed next to one another in a clockwise direction, once a circle is made the blocks move up a level, stacking on top of the previous blocks
* there are 5 blocks per level
* the blocks interchange between 20mm and 40mm width blocks (unless a repeat occurs then the block remains the exact same)
* every time a new level is formed the blocks take on a different orientation
(base level: indented side facing outwards, forming a complete circle / level 1: blocks indented point faces outwards / level 2: the block's indented side faces inwards / level 3: the blocks indented point faces inward s)
EVALUATION
# I wasn't really enjoying using parallelogram so I moved back to using rectangles as the main type of shape for this model
# I continued to use the circular composition as a driving force in this model
+ I thought this iteration was quite successful as it integrates moments of repetition and variety in a very balanced and appealing way
+ the four different orientations create more interest
+ it allows for each face of the wooden block to be seen throughout the model
- I think it could look significantly more interesting if there were more blocks (might consider adding onto this model for my 40 piece iteration, I would repeat the orientations)
- I think giving more height to this model would really further enhance it's overall composition
ITERATION 8
RULES
* each wooden block represents one number (musical note)
* the model moves from the ground up but equally can be read from left to right if placed flat
* every time there is a repeated number this is signified by an 'arc' made from two blocks joined at the indented tip of each
* the blocks are stacked on-top of one another, if it is a non-repetitive note it is stacked on-top with the indented point facing outwards, every second block is placed as though it is reflecting the block next to it (the apex of these two pieces point downwards)
*the blocks are continuously stacked like this til there is a repeat (arc), and this arc is oriented with its joined apex facing up
EVALUATION
# in this iteration I continued with the rectangular blocks
# *pivot* I decided I would try and make a more linear model just because I never really made one in my first four iterations so I wanted to see what a really tall / long model would look like
# I pulled inspiration from Iteration 4 by using an arc once again to signify a repeated number
+ I really enjoyed the distinct repetition of the wooden blocks, it created balance and a sense of continuation
+ I like that it can be read from many different angles if positioned flat, on it's side, upwards or downwards facing
- I think this model is very predictable (unlike many of my previous models that integrate an upwards motion with a circular motion as well, this just has the one direction)
- I think this was a bit of a dead end, since I think my next iterations won't continue with this extreme linear design, I would like to go back to my more distinctly 3D iterations and work off of improving and further exploring those
ITERATION 9
RULES
* each wooden block represents one number (musical note)
* the model moves from the group up but equally can be read from left to right if placed flat
* every time there is a repeated number this is signified by an 'arc' made from two blocks joined at the indented tip of each
* the blocks are stacked on-top of one another, if it is a non-repetitive note it is stacked as an individual block
* every second block is placed as though it is reflecting the block next to it (the apex of these two pieces point out)
*the blocks are continuously stacked like this til there is a repeat (arc), and this arc is oriented opposite the previous blocks, as though it is being mirrored
EVALUATION
# taking inspiration from the composition of iteration 8, I took the arcs but changed their orientation so that they would face inwards, this created a deep void through the centre of the model
# reflection back on this iteration I realise I had stay within the confines of gravity which wasn't obviously necessary for a CAD model, I think this was due to having created so many self-standing models previously I subconsciously had this as a factor when creating this
# I think the playfulness (seen in previous iterations made by hand) was lost in going digital, because I realised a significant part of my design process was picking up the blocks that I had cut out and by hand trying to image how they might stack up or be placed next to each other
+ the negative spaces in the model break up the repetition of timber blocks, allowing for the background to be seen, this creates individual shapes of white to be seen through the model
+ the moments of variety and repetition in the sequence are very obviously represented in this iteration
+ I like that the aerial view of the model looks significantly more simple than the side view
- there is slightly more width in this iteration than in the previous one, however it is still predominantly linear
- the model doesn't reveal many sides of the timber blocks, it really only establishes two different faces
- this iteration appears quite predictable and I can imagine if it were to extend to include more of the musical sequence it would become quite a boring composition
ITERATION 10
RULES
* each wooden block represents one number (musical note)
* each layer consists of 5 blocks, these five blocks are positioned in a 'star' shape
* the indented point of the blocks face to the centre and lay on the short side, every second level the blocks face outwards the opposite way
* if a number is repeated the blocks are stacked directly on-top of one another in the exact same orientation
* the sequence moves clockwise in a circular direction upwards
EVALUATION
# following on from the 'arc' concept, in this iteration the model was positioned in a 'star' shape, essentially made up of 'arcs'
+ the 'star' shape is one that I haven't made a model of yet, it looks interesting, especially because it allows you to see both sides of the blocks that make up the structure
+ the repetition is very clearly represented and this works to create a more unpredictable structure, as seen by the contrast between the change in height from each leg of the 'star'
+ interesting negative space is created in the very centre of the model
+ this model has an appealing aerial view
+ I think there is a nice balance between width and height to this iteration
- the same width blocks were used and this creates less variety in the model
- I think the side views aren't very intriguing
- besides from the leg of the 'star' that is significantly taller than the others, the remaining four look very similar to one another, it would be nice to see more difference in each section
ITERATION 11
RULES
* each wooden block represents one number (musical note)
* each layer consists of 5 blocks, these five blocks are positioned in a 'star' shape
* the blocks interchange between 20mm and 40mm
* the indented point of the blocks face to the centre and lay on the short side, every second level the blocks face outwards the opposite way
* if a number is repeated the same width of block is used
* if a number is repeated the blocks are stacked directly on-top of one another with the indented side facing outwards
* the sequence moves clockwise in a circular direction
EVALUATION
# I found the production of iteration 10 and 11 more difficult than previous iterations due to it's 'star' shape, it is difficult to glue together pieces that barely touch
# as a result of the fragility of these models it then made photographing them harder, I wasn't able to explore as many angles as it might have fallen apart - I should use wire, nails or more intense adhesive to fix this
+ much like the previous iteration the aerial view remains an interesting factor of this model
+ the change in the width of blocks gives more difference throughout the model
+ the repetition is very obvious, which then makes the moments of variation stand out more
- there appears to be less variety in shape orientation and in the faces of the blocks that can be seen
- the type of stacking performed in this model has resulted in less height, I think height would improve this model
ITERATION 12
RULES
* each rectangular block represents one number (musical note)
* the blocks are placed next to one another in a clockwise direction, once a circle is made the blocks move up a level, stacking on top of the previous blocks
* there are 5 blocks per level
* the blocks interchange between 20mm and 40mm width blocks (unless a repeat occurs the block remains the exact same)
* every time a new level is formed the blocks take on a different orientation
(base level: indented side facing outwards / level 1: blocks indented point faces outwards / level 2: the block's indented side faces inwards / level 3: the blocks indented point face inwards ) - this is then repeated
EVALUATION ***MY FAVOURITE ITERATION***
# in previous iterations 20 blocks have been used, where as in this iteration there are 40 blocks
# this iteration uses the same rules as Iteration 7
# for this final iteration I chose to expand my favourite iteration (7)
+ there are great advantages to using more blocks in a model, as seen here the rules can be further presented and more interesting shapes are created
+ this model formed a really intriguing void through the centre, I used the lighting to explore the possibilities with shadows and shards of light that the models negative space created
+ I think there is a very different composition from every side of the model, no two sides are the same
+ the aerial view of the model features an interesting pentagon shape
- although the model incorporates blocks with different widths this could be further improved with even more dramatic width sizes, for example 10mm as well as 50mm
- the repetition in this model isn't very obvious, so it makes the moments of variation in the sequence less significant
- the model seems a bit congested, it would be interesting to see this model more spread out with larger gaps in-between the blocks, and a larger centre void
Concluding Thoughts...
The sequence of Iterations definitely includes significant jumps in design. Through out the design process I aimed to keep one main rule the same when evolving from model to model, and focus on really exploring the possibilities of each Iteration. In certain Iterations, for example 8 and 9, as well as 10 and 11, they show very obvious relations to each other, with only minor rules being changed. This is useful in showing the effect of changing just one rule and the impact it can have on the overall composition. However I found in the models where I was able to change more than one rule, or dramatically pivot in my designs focus, much more generative and unique models were formed.
