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68


RMIT Melbourne | WINTER 2015

3d knitting - marina savochkina- youseng chen - kecen guo

Knitting in Space Studio Matias del Campo

“Think not of form, but of the act of forming.� Paul Klee Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of

process

process

process

3d knitting - connection

69

detail

the material interaction. Unpredictability is a very nature related property which in architecture has only started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to the architectural outcome, however to the certain degree of control of the machine it is possible to

achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design. Architects were always interested in employing elements of nature not merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion

and architecture has strong interconnection which can be explored with me techniques and material properties. Jecquard loom is a great example where architecture meets textile design. But in order to apply this methodology the architect has to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality.


RMIT Melbourne | WINTER 2015

3d knitting - marina savochkina- youseng chen - kecen guo

Knitting in Space Studio Matias del Campo

“Think not of form, but of the act of forming.� Paul Klee Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of

the material interaction. Unpredictability is a very nature related property which in architecture has only started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to the architectural outcome, however to the certain degree of control of the machine it is possible to

achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design. Architects were always interested in employing elements of nature not merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion

and architecture has strong interconnection which can be explored with me techniques and material properties. Jecquard loom is a great example where architecture meets textile design. But in order to apply this methodology the architect has to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality.

textiles in architecture

process

process

process

3d knitting - connection

plan

70


RMIT Melbourne | WINTER 2015

3d knitting - marina savochkina- youseng chen - kecen guo

Knitting in Space Studio Matias del Campo

“Think not of form, but of the act of forming.” Paul Klee Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of

the material interaction. Unpredictability is a very nature related property which in architecture has only started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to the architectural outcome, however to the certain degree of control of the machine it is possible to

textiles in architecture

architectural precedent - column ‘knitted’ structure

reference column structures

process

3d knitting - connection

71

detail

achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design. Architects were always interested in employing elements of nature not merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion

and architecture has strong interconnection which can be explored with me techniques and material properties. Jecquard loom is a great example where architecture meets textile design. But in order to apply this methodology the architect has to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality.


;ENDFOLD ;FOLD PTP FIRST POSITION, VEL= 20 %, TOOL[5], BASE[4] $BWDSTART = FALSE PDAT_ACT = {VEL 20,ACC 100,APO_DIST 100} FDAT_ACT = {TOOL_NO 5,BASE_NO 4,IPO_FRAME #BASE} BAS (#PTP_PARAMS,20) ;ENDFOLD PTP {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0, S ‘B 110’} LIN {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 436.484, Y 430.340, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 482.376, Y 475.132, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 529.317, Y 520.112, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 620.729, Y 565.110, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 711.181, Y 610.117, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 802.537, Y 655.240, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 783.124, Y 700.121, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 782.960, Y 700.121, Z 34.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 782.435, Y 700.161, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 763.842, Y 745.074, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 744.725, Y 790.100, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 743.708, Y 790.118, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 742.601, Y 790.093, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 720.843, Y 745.136, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 699.194, Y 700.117, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 699.011, Y 700.117, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 676.680, Y 655.037, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 654.521, Y 610.113, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 654.387, Y 610.124, Z 34.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 654.318, Y 610.121, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 632.054, Y 565.082, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 609.774, Y 520.151, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 588.396, Y 475.147, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 567.034, Y 430.049, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 565.027, Y 430.118, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 563.157, Y 430.085, Z 79.000, A 0.000, B 90.000, C

FORK TOOLPATH WAITCOMMAND 1 SECOND

WAIT

72


ForkVer.1

ForkVer.2

73


RMIT Melbourne WINTER 2015

Knitting in Space - Marina Savochkina Yousheng Chen Kecen Guo

Knitting in Space

Studio Matias Del Campo

“Think not of form, but of the act of forming.” Paul Klee

Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of the material interaction. Unpredictability is a very nature related property which in architecture has only

started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design, meanwhile a more nature related design. Architects were always interested in employing elements of nature not

merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion and architecture has strong interconnection which can be explored with the techniques and material properties. The architect needs to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality. In this project, our interest was to combine knitting techniques with the properties of an architectural element, such as a column.

concept

designed tool path

possible material behaviour

possible material compution

model diagrams ;ENDFOLD ;FOLD PTP FIRST POSITION, VEL= 20 %, TOOL[5], BASE[4] $BWDSTART = FALSE PDAT_ACT = {VEL 20,ACC 100,APO_DIST 100} FDAT_ACT = {TOOL_NO 5,BASE_NO 4,IPO_FRAME #BASE} BAS (#PTP_PARAMS,20) ;ENDFOLD PTP {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0, S ‘B 110’} LIN {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 436.484, Y 430.340, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 482.376, Y 475.132, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 529.317, Y 520.112, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 620.729, Y 565.110, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 711.181, Y 610.117, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 802.537, Y 655.240, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 783.124, Y 700.121, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL

FORK TOOLPATH WAITCOMMAND 1 SECOND

use of the ‘wait’ comman in code, and in the designed tool path

bottom of the main tower

74


RMIT Melbourne WINTER 2015

Knitting in Space - Marina Savochkina Yousheng Chen Kecen Guo

v

Studio Matias Del Campo Traditional Greek representation of a column, is a concrete filled structure with ornamental elements that mainly have decorative purpose. On the other hand, looking at the examples of the columns of the works of Gaudi, strong, elegant and organic shapes, helped us to design architectural elements that would have these

characteristics. To test this approach, we have used four simple geometric operation (Gaudi), that were used to soften the shapes of any edge columnlike structure: _Relax: remove an edge without collapsing its end point. _Sag: bend an edge towards the minimal surface. _Smooth: smooth local features. _Twist: twist the model about its central axis. By testing these operation, we were able identify what does and what does not work. One of the key challenges quickly identify limitation

of the material and the machines, and to create design that works within these limits. One of which was, that the tool (the extruder) can only go exactly in the middle of rods of the ‘fork’, this was limiting our design very significantly. Consequently, the pattern became the biggest challenge of the process. While, we were already aware, exactly, how far we can place points apart to avoid severe and unpredictable material deformation, it was still not enough to create a sophisticated design.

concept

TRADITIONAL COLUMN

NEW COLUMN

structure is filled with material inside; the ornamentation has purely decorative character

based on nature based pattern and crystal like structure

idea of the columns

designed tool path

possible material behaviour

possible material compution

model diagrams

‘fork’ in the position, extruder following designed tool path

work flow

small tower

75

‘fork’ gets into position

‘fork’ is on hold, while the extruder is in action

two robots working together


RMIT Melbourne WINTER 2015

Knitting in Space - Marina Savochkina Yousheng Chen Kecen Guo

Studio Matias Del Campo

By analyzing series of tests we have conducted in the first half of the semester, and what our group-mates have discovered, we realized that the more potential surface area we can recreate on the layers 2 to N, the higher the percentage that a designed point will interfere with

designed cross over lines and will create a strong and stable structure. Another point, was to create a very dense center element with very small discrepancy for unexpected deformation, which would secure a strong and steady core of each element. One of the important observations of the studio was, that the design cannot be fully controlled, it needs to allow a high degree of variation. It means, to allow the autonomous process to take the lead and ‘fix’ the design as it building up. With the same factors

applied during the prototyping process, a ‘failure’ will become a repetitive element of design. In order to create a pattern, that would fit our expectation, and at the same time bring new properties to the column we were intended to create, a look into nature, became almost unavoidable. Using the method of the natural arrangement, phyllotaxis, which is dominated by intriguing mathematical relationships, allowed us to combine the traditional qualities of the columns with nature-based mechanisms.

concept

designed tool path

possible material behaviour

possible material compution

model diagrams

complete Disney castle_made out of polypropylene

top of the towers

76


architecture porfolio  

BY YOUSHENG CHEN/ RMIT UNIVERSITY 2013-2016 |BACHELOR OF ARCHITECTURAL DESIGN |MASTER OF ARCHITECTURE

architecture porfolio  

BY YOUSHENG CHEN/ RMIT UNIVERSITY 2013-2016 |BACHELOR OF ARCHITECTURAL DESIGN |MASTER OF ARCHITECTURE

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