The Glasgow School of Art/ Mackintosh School of Architecture M.Arch Digital Creativity 2013-14 Individual Research Proposal 2 student: Georgios Karampelas Tutor: Dr. Raid Hanna
take shelter
an individual research project on the use of computational design tools and digital fabrication processes for small-scale wooden structures.
contents Introduction research questions and objectives research proposal research methodology theory Computational Design Digital Fabrication methods strategies sectioning tools + machines practice (Rp2) sectionscape waffle roof catenary pavilion tree cocoon driftwall discussion/further work epilogue references
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introduction
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rchitectural production has been rather unsuccessful at keeping up with technological advances. While other scientific and technological fields radically evolved through the past century, architecture did not find a way to incorporate and integrate the evolutionary knowledge applied in other industries. The widespread of digital tools for designers was a milestone but while it did change dramatically the way architects design, it was not enough in order to change the way buildings are constructed. Nowadays, contemporary architecture has managed to keep pace with other scientific fields and participates in a collaborative environment where ideas and processes from one field are tested and applied to others.
“...Architecture depends upon its time. It is the crystallization of its inner structure, the slow unfolding of its form. That is the reason why technology and architecture are so closely related. Our real hope is that they will grow together, that someday the one will be the expression of the other. Only then will we have an architecture worthy of its name: architecture as a true symbol of our time� (Mies van der Rohe, 1950)
RESEARCH QUESTIONS AND OBJECTIVES This research by design project raises questions about the relationship between digital and analog design procedures, between natural and artificial environments as well as the role of craftmanship in contemporary architecture. A high priority is also given to physical model making as a means of understanding, testing and optimizing the design idea. The aim is to explore and investigate the application of computational design tools in combination with digital fabrication processes. More specifically, particular emphasis is given on a specific method of fabrication, ‘Sectioning’, considered as one of the most affordable and effective ways of manufacturing.
QUESTIONS OBJECTIVES - what is the relationship between - explore the multiple variations and natural and artificial environments and possibilities that advanced architectural design softwares (CAD) and processes? Computer-Aided Manufacturing - what is the role of craftmanship and (CAM) technologies offer to the designer. in a digital-oriented world? - how can CAM technologies and digital fabrication processes contribute to architectural design and construction?
- develop a better understanding about complex geometries and fabrication processes through analogue and digital media. - achieve a significant level of knowledge in computationally designed, small-scale, wooden structures.
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Design proposal In order to place my research in a context, I propose the design and fabrication of a series of case-study wooden shelters, sprawled over the Hebrides archipelago.
in quest of site Natural environments can be a great source of inspiration and knowledge for architectural practice. After a long-period of a modernist approach, related mostly with the urbanity of architecture, nowadays architecture seeks to relate again with nature and establish new relations with it. In a research by design project, the question of site is of high importance. A siteless research can explore design options that are not limited to site restrictions, environmental factors, cultural aspects etc. On the contrary, the lack of such input can make the whole design process void, lacking of any meaning. I choose to be neither siteless nor site-specific. My research lies on the formal and structural exploration of small-scale wooden shelters. So, the proposals are placed a priori in natural environments. There is no need -for the moment at least- for further site specification as the small-scale and modular/assemblable character of the proposed shelters constitute themselves adjustable to different locations. Possibly, at the final phase of the project, a site-specific proposal will be further analysed.
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However, a broader concept is decided, that of a network of shelters, sprawled in the archipelago of Inner Hebrides. Inspiration is drawn from the National Tourist Routes in Norway and the recent competition of the Scottish Scenic Routes, initiatives which aim at enhancing the visitor’s experience and stimulating economic and cultural growth to the rural communities.
In his influential work Essai sur l’ Architecture, Marc Laugier describes an elementary edifice involving four living, still growing and rooted in place treetrunks, with lintels composed of sawn logs and branches providing an elementary pitched roof (Herrmann, 1962). Laugier’s intention was not to illustrate an actual house to live in, but a rather conceptual prototpe of an elementary “living hut”.
in quest of function The choice of shelter is made in aspect of its small scale and minimum programmatic and functional requirements. These characteristics will encourage focusing on geometry, form and materialisation. The shelter will be a single-space structure, able to host a limited number of visitors. It offers protection from weather conditions and cases of emergency. The shelters will be a series of experiments on form-variation and fabrication multiplicity.
in quest of form+structure In this research, form and structure are handled as a pair of factors, each one independent but both integrated in a parametric design environment where the characteristics of the one directly affect the characteristic of the other. The fabrication of the shelter indicates its structure and narrows the spectrum into which the ideal form will be decided.
in quest of MATERIALITY
Setting the parameters of the design: A series of parameters/limitations are established at the beginning of the design process, not in order to limit but to narrow the research field and allow a more in-depth analysis of the investigated issues. 1. The size of the shelter must not exceed the limit of 25 squared meters. 2. The proposed structure must follow a self assembly, modular logic. 3. The main material used for the fabrication of the shelter is wood, including its different types and by-products. (plywood, MDF, OSB etc.) 4. The shelter should provide sufficient protection from severe rain and wind conditions. 5. The fabrication of the shelter must be able to be made by use of either laser-cutting or CNC routing machines. 6. The proposed design must be able to be assembled and fabricated by any user with no relevant experience in construction/fabrication process
Wood is one of the most commonly used materials in architecture. It is considered to be ideal for smallscale, deassemblable constructions while it is admired for its undisputable aesthetic value. It can be found in different form in the material industry, from logs to sheets. Wood can have excellent perfect structural and performative characteristics and is widely used by emerging technologies and digital manufacturing. Moreover, it is a highly sustainable and relates well with natural landscapes, where it derives from.
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RESEARCH AND Design methodology 1. FORM FINDING I begin with exploring prototype design forms and concepts. I utilize the ability of computational design to offer numerous versions of an initial element in order to produce variations and develop different case-study forms. Each of these forms is a potential shelter.
now
2. PHYSICAL MODEL TESTING Physical models explore new possibilities and indicate solutions. I am using laser-cutting technology in order to fabricate models. A debate between the digital and analogue procedures is established.
June
3. OPTIMISATION The chosen geometry is further optimized in relation to environmentalbehavior (daylight analysis), curvature, stress etc. 4. FABRICATION At the end of the research, a scaled model of the project or a 1:1 detailed part of the solution will be fabricated.
form finding physical model testing / fabrication environmental analysis structural analysis
form optimization data documentation
July fabrication participation in architectural design workshop for small scale wooden structures. (SummerMake 2014 by AA London, UK.)
August final fabrication and presentation
tools and software RHINOCEROS 3D is a 3D modeling software, developed by Robert McNeel & Associates, that specialises in NURBS modeling. Rhinoceros 3d gained its popularity in architectural design in part because of the Grasshopper plug-in for computational design. GRASSHOPPER is a graphical algorithm editor tightly integrated with Rhino’s 3-D modeling tools. Unlike RhinoScript, Grasshopper requires no knowledge of programming or scripting, but still allows designers to build form generators from the simple to the awe-inspiring. DIVA-for-Grasshopper is an add-on GH component that facilitates the environmental simulation of the design, integrated into the algorithmic environment of Grasshopper.
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ttheory heory
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Computational Design Computational Design is a further subset of modelling software that “enables the designer to define relationships between elements or groups of elements, and to assign values or expressions to organize and control those definitions” (Dunn, 2012). The underlying principle in this process is the connectivity and relationship between different elements of the design. The designer can -at any time- intervene by altering the values or the equations that form the relations between elements and the effects of these changes to be reflected directly, in a visual environment. Another key aspect of computational design is the ability to produce variations by producing multiple iterations in the initial design. Parametric design is not unfamiliar territory for architects. From ancient pyramids to contemporary institutions, buildings have been designed and constructed in relationship to a variety of changing forces, including climate, technology, use, character, setting, culture, and mood.
suming process that requires a shift in the mentality of the designer, as new concepts and terms that previously weren’t part of the ‘design thinking’ arise.
In contrast to traditional design methods, computational design (also known as parametric design) focuses on making the system that generates different design options rather that designing the final outcome in a straight-forward way. This phenomenon is what Mark Burry refers to as “designing the design’’ (Burry, 2003).
RHINOCEROS 3D is a 3D modeling software, developed by Robert McNeel & Associates, that specializes in NURBS modeling. Rhinoceros 3d gained its popularity in architectural design in part because of the Grasshopper plug-in for computational design.
As with every design system, there are positive and negative aspects: The undeniable advantages concern 1) the possibility for the designer to explore novel solutions that may not be distinguishable initially and 2) the consistency of the design solution. On the other hand, it is a time-con-
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Software
GRASSHOPPER is a graphical algorithm editor tightly integrated with Rhino’s 3-D modeling tools. Unlike RhinoScript, Grasshopper requires no knowledge of programming or scripting, but still allows designers to build form generators from the simple to complex.
Patrick Schumacher (2009), partner at Zaha Hadid Architects, in his manifesto for parametricism writes:
“We must pursue the parametric design paradigm all the way, penetrating into all corners of the discipline. Systematic, adaptive variation and continuous differentiation (rather than mere variety) concern all architectural design tasks from urbanism to the level of tectonic detail. This implies total fluidity on all scales.�
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digital fabrication Digital Fabrication is a process that joins Design with Con-
struction through the use of 3D modeling software and additive and subtractive manufacturing processes. While in architecture is a relatively recent phenomenon-emerging over the last 15 years- it has been used in engineering and industrial design for more than 50 years in the development and fabrication of cars, airplanes and other smaller products.
In this process, the sequence of operations becomes the critical characteristic in procedure. Architects can propose complex surfaces, where the properties of materials should push the design. Moreover, this process has facilitated a greater fluidity between design generation, development and fabrication than in traditional approaches, which necessitated a more cumulative, staged process. Another key-characteristic of this method is the fact that allows and positively encourages the making of one-off, non-standard objects and components. As Lisa Iwamoto (2009) describes “for many years, as the process of making drawings steadily shifted from being analog to digital, the design of buildings did not really reflect the change... It took three-dimensional computer modeling and digital fabrication to energize design thinking and expand the boundaries of architectural form and construction.� Perhaps one of the most exciting and radical characteristics of digital design and fabrication is its accessibility to students and researchers, something that constitutes a massive point of interest for academia.
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TECHNIQUES The techniques of digital fabrication generally fits into four main categories: CUTTING is perhaps the most accessible and common method. It is also referred as ‘two-dimensional fabrication’. SUBTRACTION takes material from an existing solid volume. The excess material is typically removed through a milling or routing process. ADDITION slowly builds up material in layers rather than steadily removing it. It is commonly known as ‘rapid prototyping’ and works on the basis of translating digital design into a series of two-dimensional layers. FORMATION utilizes mechanical forces to reshape or deform materials into a required shape.
strategies The strategies of digital fabrication can be classified into five categories: Contouring, Folding, Forming, Sectioning and Tesselating. CONTOURING According to Lisa Iwamoto (2009) ‘‘contouring is a technique that reshapes a surface...by removing successive layers of material. Analogous to traditional wood and stone carving in crafts and architecture, nowadays contouring is excessively used in order to ‘distort’ the planarity of sheet materials. It is a rather time-consuming process with considerable waste of material.
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FOLDING Folding is the process where a planar surface is transformed into a three-dimensional one. It is a valuable method due to both its structural and aesthetic principles. Not to forget that Gille Deleuze’s theory on ‘the fold’ influenced contemporary architecture more than anything else. Its main characteristic is the continuity of space, surface and form it permits. A fluidity is achieved that no other fabrication approach can provide. FORMING Forming “is tooling through the generation of components from a mold or form, and is more readily applied for the mass production of consumer products”. The mold or form is usually created by using milling techniques. In architecture, it mostly relates to building components such as facade panels, window mullions and tiles. TESSELATING Tessellation -also known as tiling- is a collection of pieces that fit together without gaps to form a plane or surface (Iwamoto, 2009). This strategy is closely relevant to construction as architects and engineers try to achieve large, demanding forms by using standard-sized materials and components. Aesthetically, tessellation is synonymous with patterning as they both refer to surface articulation and/or division.
SECTIONING rather than construct the surface itself, uses a series of profiles, the edges of which follow lines of surface geometry. It is commonly used in airplane and shipbuilding to make doubly curving surfaces. The technique is well suited to the program of shelving and storage and to using readily available sheet materials. This building technique was first adopted in the pre-digital era by architects such as Le Corbusier for the roof structure of the chapel at Ronchamp. Many decades late, Greg Lynn would be one of the first to experiment with digitally generated sectional structures as part of a design methodology.
According to the direction/axis of the section planes, sectioning can be generally classified into 5 categories. Vertical and Horizontal sectioning occurs when the geometry is sectioned according to either X or Y Cartesian axis. Waffle -otherwise called “egg-crate”sectioning derives from the combination of vertical and horizontal. The radial sectioning creates cutting planes based on circular paths while the Adaptive method follows the curvature of any given geometry. Finally, there is also the possibility of “random” sectioning, which happens when the sectioning planes are chosen randomly.
Sectioning is also called “2D fabrication” as it requires two-dimensional materials in to be. The Laser-cutter requires 2D CAD drawings of the elements to be cut. The material also come in sheets, where the thickness is minimal when compared to the other two dimensions. So, throughout the entire manufacturing process, there is a ‘two-dimensional’ approach, something that makes Sectioning being one of the most affordable and easy-to-understand processes.
vertical
horizontal
waffle
radial
adaptive
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tools + machines CNC router stands for computer numerical control. Through a computer controller, G-codes are read which represent specific CNC functions in alphanumeric format. The g-codes drive a machine tool, a powered mechanical device typically used to fabricate components. CNC machines are classified according to the number of axes that they possess. CNC machines are specifically successful in milling materials such as plywood, foam board, and steel at a fast speed.
Laser-cutting machine is a machine that uses a laser to cut materials such as thick paper, cardboard, acrylic sheet, thin metal sheets, slim wooden veneers or composite sheets.. CAD is used in the production of lines on a grid, which would be sent to the laser cutter. Lines can either cut through the material or score it depending on the color of the line drawn. Objects cut out of materials can be used in the fabrication of physical models, which will only require the piecing together of the parts.
CNC milling machine removes material from a wooden sheet. The difference between milling and routing relates to the type of drill bit attaches to the cutting head, but the overall apparatus is typically identical.
Rapid Prototyping machine builds up layers using a powder which is bonded together. It is usually done using 3D printing or “additive layer manufacturing” technology.
“It is intriguing to note that this emerging, technologically enabled transformation of the building industry in the digital age has led to a much greater integration of mechanical age processes and techniques into conceptual building design.” (Kolarevic, 2008)
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ppracti ractice
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As part of my RP2, and in order to establish a satisfying knowledge on the computational design tools and software as well as in the digital fabrication processes, I investigated different approaches on Sectioning through a series of small-scale exercises. All the following design experiments focus on the development of an algorithm for the design and fabrication of a conceptual structure. The emphasis here is given on the fabrication process and not in the architectural design. The common characteristics on all the exercises are the use of parametric modelling (Rhino + Grasshopper) and the possibility for digital manufacturing by using the Sectioning method.
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adaptive
radial
waffle
vertical
horizontal
5 experiments
01.
sectionscape In this exercise an algorithmic definition is designed for the vertical sectioning of a freeform surface. The input required from the user is: - the base geometry - the direction of sectioning - the distance between the sections - the thickness of the material
wood sheets. The extruded surfaces are then projected on a grid on the XY plane. For better data documentation, the profiles are labeled with a unique serial number so that the fabrication process becomes quicker and easier.
base surface
As output, we have a series of labeled curves/surfaces, ready for laser-cutting. For the horizontal sectioning, the procedure remains exactly the same. The only change in the algorithm is the direction of sectioning which follows the z axis instead of the x or y. The definition starts with a freeform surface which is contoured towards y axis. The edges of each curve are linked with a line so that a close polyline is created. Right after, each polyline is transformed into a planar surface. These surfaces are extruded according to the thickness of the material that will be used for the fabrication. In our case, this is 2mm ply-
contours
ribbed surface
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02.
Waffle Roof Wae sectioning, also known as egg-crate method, is one of the most widespread approaches in digital manufacturing. The combination of two-axis sectioning planes provides a high level of structural integrity. The required data from the designer are: - the base surface - the distance between the sections - the thickness of the material The difference on the Grasshopper definition, compared to vertical or horizontal sectioning, is the necessity to create half lap joints (notches) in the ribs for the fabrication.
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The definition starts with a base geometry. A rectangular grid is designed and extruded so to intersect the initial geometry.The solid difference between the three-dimensional grid and the Brep (geometry) are the outlines of the sectioning elements. Each closed curve is transformed into a planar surface and then is extruded according to the thickness of the material. In order to create notches at the intersecting points of the ribs, the x-axis ribs have to be moved verticaly by half the thickness of the wae . At the end, all the ribs are oriented on a plane in order to proceed to the fabrication procees
base surface
sectioning grid
sectioned surface
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03.
Catenary Pavilion
When the cutting planes for the sectioning of a geometry follow a circular path, then the sectioning is considered as radial. When the cutting planes follow the path of a freeform curve, we refer to adaptive sectioning. Here we have a combination of these two methods as the cutting planes are created between a circle and a closed curve. In this exercise, it is also investigated the “catenary chain�. This means that the length of each one of the radial curves is fixed. Therefore, the distance between the endpoints of the curve indicates its curvature. The designer sets: - two curves - the number of division points - the length of each curve.
The algorithm begins with the division of two shapes, a circle and a curve. The division points are connected one by one with a straight line. These line are transformed into catenary chains. A fixed lenght is defined by the use of a numeric slider and each line becomes curved according to the distance of its edge points. Right after, the curves are transformed into frames. In this stage, the thickness of the frame is defined.
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04.
Tree Cocoon In this definition, two different approaches of sectioning are combined. The wae ,which was also analysed in a previous example, and the radial.
base surface
The required data from the designer are: - the base surface - the distances between the verticalsections - the number of radial sections - the thickness of the material An interesting point in the definition, in terms of design and not fabrication, is the use of a graph mapper in order to generate a series of rotations to the vertical components of the wae.
vertical ribs
radial ribs
wae structure
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05.
Driftwall This definition investigates the method of adaptive sectioning, sectioning in this case closely related to “radial” sectioning as here the cutting frames follow the path of an arc. The user feeds the algorithm with two surfaces, a cylindrical and a freeform one. The former is copied multiple times in specific distances (Offset) in order to create the cutting “planes”. The latter one intersects the generated surfaces through a ‘Boolean’ command. The result is a series of surfaces which are unrolled on the XY plane in order to give the documentation data for the fabrication. It is interesting to note that the aesthetic outcome resembles the pattern of driftwood surfaces.
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base surface
freeform surface
offset surfaces
intersection
boolean difference
final surface
further work / discussion All the aforementioned exercises do not costitute literal proposals for my individual research project (IRP). They are a kind of case-study experiments, trying to build a design vocabulary based on computational design tools and digital fabrication processes. It is high possible that some of the ideas included in these experimentations will inform the outcome of my final proposal. It is still unknown however to what extent. There are numerous conclusions and notifications that can be extracted by the series of experiments made for the RP2 project. Out of the 5 different examples, the Wae Roof and the Tree Cocoon seem to have the best structural performance as they both consist of two-axis ribs, a characteristic that definitely contributes to a much higher rigidity of the structure when compared to designs such as the Sectionscape or the Driftwall. In terms of architectural design aesthetics, the wood pattern achieved in the Driftwall exercise may be iconic but creates an intense formal impact that is worth being further explored. Now that I have established a satisfying knowledge in the handling of the software and the understanding of the fabrication process, the very next step will be to develop a more rigid design concept, informed by both architectural, structural and environmental criteria and proceed to a more detailed design approach.
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epilogue
There is an ongoing research in contemporary architectural field that is hard to predict where is going to lead us. Experimentation and failure become a second nature for the designer in his effort to deal with handling the complexity not only of the form, but also of the documentation and materialisation. This unstable environment requires flexible and adaptive design systems, and here comes the importance of computational design tools.At the same moment, new materials and manufacturing procedures arise and question the traditional methods of design and construction. Digital fabrication has made feasible -and sometimes- affordable what previously was considered impossible.
This research project set the basis in a series of arguements about the computationally-oriented digital design tools. Through a series of exercises the multiple design and fabrication possibilities of a single manufacturing approach are investigated. Not in order to classify the numerous options that ‘sectioning’ provides as a fabrication method, but in order to comment that in the algorithmic environment small changes in the design procedure can lead to completely new outcomes. These outcomes, are not just a visual experimentation that remains in the no-space of computer but are designed in a way that not only permits but encourages their realization.
There are many aspects and considerations that are not included in this research paper, even because they do not belong to the narrowed research spectrum of ‘sectioning’ or because time didn’t permit it. As this research continuously is being enriched, the aim is to constitute a comprehensive body of work on “two-dimensional” fabrication strategies for the design and manufacturing of small-scale wooden shelters. structures.
Another key-element of the work illustrated in the previous pages of this research is the shift towards a performative interpretation of architecture. What I mean is that instead of remaining in the visual aspect of design, the associative environment generates a debate on the behaviour of design solution, in terms of fabricaion, structure, affordability. The opportunity to produce variation in a relatively short amount of time permits the discussion for alternative solutions and ways of manufacturing.
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references Burry M. (2003) “Between Intuition and Process: Parametric Design and Rapid Prototyping� in Kolarevic B. [ed.] Architecture in the Digital Age: Design and Manufacturing. Spon Press, pp. 147-62. Iwamoto L. (2009) Digital Fabrications, Princeton Architectural Press, New York Dunn N. (2012) Digital Fabrication in Architecture, Laurence King Publishing, London Sakamoto T. Ferre A. (ed.) From Control to Design, Actar-D, New York Kolarevic, B. & Klinger, K. (2008) Manufacturing Material Effects: Rethinking Design and Making in Architecture, Routledge Schumacher P. (2009) A new Global Style for Architecture and Urban Design, AD/ Architectural Design- Digital Cities, Vol.79, Iss. 4, July/August Mies van der Rohe L. (1950) A speech to IIT, in Johnson P. 1953, Mies van der Rohe second edition, Museum of Modern Art, New York Jabi W. (2013) Parametric Design for Architecture, Laurence King Publishing, London Herrmann W. (1962) Laugier and Eighteenth-Century French Theory, London.
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