To incorporate elements of the earlier folly work into the building design, I created a facade using similar techniques of exporting a model from fractal modelling software, and then manipulating this model to create facade louvres.
The above precedent inspired me to turn the fractal model into louvres that would create an undulating effect across the facade, allowing different amounts of light in to the spaces where necessary.
Initial fractal model, exported using voxel slices and then rebuilt as an .obj using Rhino.
2. Splitting the model into contours. At this stage the model file required a lot of cleaning up to remove pieces that were unattached to the whole.
3. After cleaning up the file, the model was ready to be split into smaller elements to create louvres.
4. The final louvre design was then placed onto the building facade.
I was finally able to export a test segment of my fractal 3D model from Mandelbulb to Rhino. This was done via a process of creating small slices of the model via Voxel slices, linking the slice sequence together in Fiji (ImageJ) and then creating an obj file.
Next steps: choose and export more components from the fractal model, and use these to create the folly as it will sit on the site.
It was discussed after the last tutorial that one way of achieving 3D models of the organic shapes from my collage would be to use photogrammetry, ie. using photographs to create a 3D model.
To learn the process, I took a series of photographs around a plant (chosen as it was sufficiently detailed and had organic shapes). I then uploaded the photos to Autodesk ReCap 360 to create a point cloud model of the object.
The model, once rendered, was missing some parts due to some of the photos not being stitched together, and also ran into some other issues. Although I photographed the object on a uniform background, changes in light as I moved around it meant that in some of the photos the background was not recognised to be the same. I also discovered that it is best to place a marker before taking the photographs, in order to allow the software to stitch the images together more accurately. After this test I learnt how to stitch together images manually for the program to add to the model. Despite the process not working as expected, I do quite like the final model, which looks rather surreal.
In the first tutorial we were given a crash course in Rhino, quickly covering the basics and then learning a more advanced technique of adding a pattern onto an organic shape. This was my third time using Rhino, however I found it fairly simple as it has a number of similarities to other software such as AutoCAD.
We were able to place the pattern onto the surface using the ‘Unroll surface’ and ‘Flow to surface’ commands, and then used the plugin Multiview Capture to export images with transparent backgrounds, although there were some issues with achieving full transparency. We also used Grasshopper to add the pattern to a more complex, irregular curved shape.