Group 35 Blog - http://novaks35.tumblr.com
Group 35s exploration into exterior facades started with the weaving and knitting to create patterned surfaces. From the surfaces created, Group 35 discovered that with the experimentations in weave length, structural properties appeared in each. Adding the aesthetic of the surfaces and the structural properties found meant that the considerations of materiality and consideration of transmaterials could be made. In the midst of this, the change from analogue to digital making was made. Programs such as Rhino, Grasshopper, 3DS Max and the digital world of Second Life were all part of the design process. 2 dimensional patterns were constructed on Rhino with Grasshopper being the 3 dimensional medium of transformation. The designs, all based or elementarily based on their analogue weaving and knitting, were then transferred to the rendering tool 3DS Max whereby after experimentation with colour, texture and materiality was then imported into Second Life for testing within a context- site, light effects, occupation and use, etc.
Group 35s exploration into exterior facades started with the weaving and knitting to create patterned surfaces. From the surfaces created, Group 35 discovered that with the experimentations in weave length, structural properties appeared in each. Adding the aesthetic of the surfaces and the structural properties found meant that the considerations of materiality and consideration of transmaterials could be made. In the midst of this, the change from analogue to digital making was made. Programs such as Rhino, Grasshopper, 3DS Max and the digital world of Second Life were all part of the design process. 2 dimensional patterns were constructed on Rhino with Grasshopper being the 3 dimensional medium of transformation. The designs, all based or elementarily based on their analogue weaving and knitting, were then transferred to the rendering tool 3DS Max whereby after experimentation with colour, texture and materiality was then imported into Second Life for testing within a context- site, light effects, occupation and use, etc.
Though the process described above sounds smooth and fairly swift, obstacles affected their exploration (as would arise from any design project). Complications with the digital design sites used caused a lot of trial and error within a design process that already demanded a lot of trial and error in order to contemplate. To their credit, Group 35 used the nature of their working process to project the concept behind their cities. Their utopian city was based around the idea of trial and error to create an on-going development in a world of technological progress. Of emphasis in the real world was the use of a material called ETFE on The Cloud, a part of the Rugby World Cup party central area on the Viaduct in Auckland, New Zealand. This was a build that cost approximately $10 million to construct in the space of a mere 5 months, ETFE was seen by Group 35 as the type of material and The Cloud, the type of that could spearhead the developing nature of their utopian city. Their dystopian take was that of a more timid city, one which was scared of moving forward.
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