Today's Class

Hi Guys,

Lets meet in the level 2 lab (rm2034) at 9am; we can go from there.

Today we'll be reviewing this work in one on one meetings:

1. Complete project component list and timeline
2. Create “water-tight” digital components, laser cut components
3. Create blue foam components.
4. Create first draft assembly.

Via your blog.

While we are doing this you'll be 3d printing (rm2025), laser cutting (design lab) and assembling the components.

UPDATE: we've been given the go ahead for a desktop laser cutter (for rm2025) and I've placed the order with the supplier.

For a little background reading see the extract below for an interesting reflection on innovative representation and the resulting architecture:

Moloney, J. "3d Game Software and Architectural Education." 

Auckland has established itself among the top design schools in Australasia with our students frequently successful in prestigious international competitions. Reviews by accrediting agencies often make comment on the excellence and innovation students demonstrate in drawing and model making. In my view this is due to the emphasis placed by most design studios on the close relationship between representation and the development of design ideas. The “mark - interpret - mark cycle” articulated by Daniel Herbert in relation to sketching has been extended within our design studios to the production of innovative composite drawings and malleable physical models (Herbert, 1993). While not a certainty our experience has shown that innovative representation
generally produces innovative and sophisticated architectural projects. These observations are reinforced by the work of theorist Robin Evans who in “The Projective Cast” traces the relationship between projective geometry and the generation of architectural form (Evans, 1995). In this work he proposes that the historical development of architecture has been limited by the ability to describe form on paper, and hence related to the drafting tools and techniques available at any given period.


Evans’ historical perspective has been used by the author to propose alternate strategies facilitated or made possible by the use of digital technology (Moloney, 2000). These were categorised as emergent form (using generative techniques such as cellular automata, shape grammar or genetic algorithms), immersive editing (the editing of architecture within virtual environments) and computer aided construction (the automated construction of architecture using CNC machines). These three strategies are to my mind the advantages of computing for design. While the first
involves computer programming beyond the curriculum of most schools and the later requires specialised and expensive machines, the facility to evaluate and alter architectural design - immersive editing - is within the resources of typical architecture schools. 

Paper presented at the Meeting at the Crossroads. Short Paper Proceedings of the 18th Annual Conference of the Australian Society for Computers in Learning in Tertiary Education., Melbourne, Australia, 9-12 December 2001.

Cheers