Digital design portfolio

DIGITAL DESIGN: DIGITAL CRAFT [6ARCH002W] Architectural Reflections 1 2017-18 STUDIO ADAM HOLLOWAY

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COLUMN VASE OR TOWER

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WAFFLE STRUCTURE

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MATERIAL OPTIMISATION

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CNC RELIEF MAPS

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STUDIO INTEGRATION

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CONTENTS 01/04 INTRODUCTION 01 -Points 02 - Primitives, Planes and meshes 03 - Curve Structure 04 - Control Points

05/06 CYCLE ONE: 05 - Column, Vase or Tower 06 -Surface Skin or Structure

07/08 CYCLE TWO: 07 - Form Finding with Physical Simulations 08 - Material Optimisation Through Stress Analysis

DIGITAL DESIGN - CALLUM STUBBINGS

10/11 CYCLE THREE 10 - Custom Generative Patterns with Anenome 11 - CNC Milled Relief Maps

13/18 CYCLE FOUR: STUDIO 13 - Introduction 14 - Pipes Grasshopper 15- Boxes Grasshopper 16 - 3d Print Fabrication 17 - Laser cut Contouring Fabrication 18 - Unrolling Fabrication

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DIGITAL CRAFT INTRODUCTION

Digital Design focuses on how we can as architects, manufacturers and designers use CAD (computer aided design) to enhance the outcome of our design. The outcome of the design can be enhanced in multiple ways. This could be from BIM (Building information modelling) to strengthen co-ordination / collaboration, Parametric modelling to predict the effieiency of a structure or to use other computer aided design to develop fabrication methods. All of these methods can reduce time and cost.

Different methods can be used for architectural fabrication. There are some of the methods below that can either allow us to make a full scale model or allow us to test if a certain material will work for the final design. These methods of testing different techniques give us as architects a greater understanding of the best ways to create certain forms.

Robotic Arm

Laser Cutting

CNC Milling

3D Printing

3D Printing on a larger scale

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DIGITAL CRAFT INTRODUCTION Rhino

Grasshopper

Rhino is a 3D CAD (computer aided design) software package available on windows and mac.

Grasshopper is a visual scripting plug in for rhino.

“Rhino can create, edit, analyse, document, render, animate and translate NURBS curves, surfaces, and solids, point clouds, and polygon meshes. There are no limits on complexity, degree, or size beyond those of your hardware”

“Algorithmic design has two main sides, one is ‘Algorithm’ and another one is ‘Geometry’. Algorithm, like a recipe,

Many other programs are compatiable with rhino such as:

Khabazi, 2018

Mcneel, 2018

Keyshot Vray RhinoCam Bongo T-splines Mindesk Maxwell Diva and many more.

This creates a software that can render, 3d print and allows compatibility with other major CAD formats.

manages and processes data, gathers input and provides desired output. Geometry is the ingredients where algorithms apply the recipe to them, and create the output product. Algorithmic design tools and any design medium in this eld should provide facilities for both sides.”

Grasshopper allows us to visualise the scripting procedure through rhino as we use the language. The ideas from grasshopper can be baked and transformed within rhino.

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DIGITAL CRAFT INTRODUCTION

“Everything begins with points”

R3 World Space Has three co-ordinates, referred to as X, Y and Z

Diagram 1.1 - Co-ordinates

R2 Parameter Space Has only two co-ordinates, referred to as X, Y or U, V

R1 Parameter Space Points in R1 are denoted with a single value

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DIGITAL CRAFT INTRODUCTION

Primitives planes and meshes

The primitive surfaces below have user defined parameters

Cube

Sphere

Ellipsoid

Solid

Plane Linework

Cylinder

Diagram 1.2 - Primitives

Tube

Cone

Truncated Cone

Diagram 1.3 - Differences between lineowrk, planes and solids

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DIGITAL CRAFT INTRODUCTION

Curve Structure

“Standard nurbs curve (Degrees=3) with equal distances between control points. A nurbs curve prefers to have control points on both sides so we have to ‘force’ it to go the extra mile towards the ends of the polygon.”

“Once control points start to cluster, the parameter space has a tendency to contract. This can be countered up to a point by setting custom knot values, but the default behaviour is visable here.”

“Weighted control points also collapse the parameter space in their vicinity in a very conspicuous fashion. (The large dots are the weighted ones)”

Diagram 1.4 - Curves and impact of nodes.

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DIGITAL CRAFT INTRODUCTION

Control Points

Control Points

Diagram 1.6 - Selecting control points

Selu/Selv

Select U or V axis, will allow you to select a row of control points

Diagram 1.5 - Control Points

Control Points Degrees: 1 Point Count: 2

Control Points

Degrees: 3 Point Count: 6

Control Points Degrees: 6 Point Count: 9

Degrees refer to the distance that a line intercepts each control point. The higher the number the further the line is away from the control point.

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DIGITAL CRAFT CYCLE ONE - COLUMN, VASE OR TOWER?

Child Curve

Master Curve

Control Points

Diagram 2.1 - Master and Child Curves

Diagram 2.3 - Lofted outcome of the master curve

Master Curve: First Created NURBS curve

Outcome:

Child Curve 01: Mirror of Parent Curve. Record History must be enabled to allow any changes to the master curve to follow through.

Once the Polar Array has been completed, the next step is to use the command ‘LOFT’. This allows the NURBS curves to become a solid surface.

Child Curve 02: Polar Array of master and child curve.

Polar Array allows you to edit the number of times your curves are arrayed + the degrees between 0 - 360 to which you want to array the curves. In the above example the number of arrays is 6 and the degrees are 360.

Diagram 2.2 - Control Points The above diagram show the number of control points that are present on the master and child 01 curves.

The number of control points and degrees to which the curves are bound by each point can be edited through the command ‘REBUILD’. This command allows you to edit the master curve without the need to begin the process again.

The above curve has 15 control point at 1 degree.

Loft must begin with the master curve to maintain control and allow for a loft in a clockwise or counter-clockwise direction.

Ensure the loft is closed and has ‘straight sections ticked. If the Loft is not closed then the command wont complete the 360 degree motion.

The Tower, Vase or Column can now be edit via the control points in the 3 dimensional world space R3.

Analysis: The master curve could be altered to be a polycurve. This would allow for different segments to have various control points and degrees. For example this could allow our above test model to be closed at the bottom by effectively having a NURBS curve with degrees 1.

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DIGITAL CRAFT CYCLE ONE - COLUMN, VASE OR TOWER?

Control Points

Cut A

Where to connect for easier fabrication

Cut B

Difficulties in fabrication

Diagram 2.4 - New definition of lofted design

Diagram 2.5 - Unrolled loft

Diagram 2.6 - Physical Fabrication

Following the Tutorial I began to experiment with various forms.

The unrolling process had to be exploded, as the alternate way output my geometry on top of itself. The process gave me two variations: Cut A and Cut B.

Due the output of the laser cut model the fabrication came with its own difficulties.

Due to the surface manipulation of my model, I chose to use 220gsm paper to allow for bending when making my model. Masking tape was used on the inside to hold the pieces together.

Since each face was a separate piece of cut card it was hard to assemble. The approach I took was to assemble them in twos then assemble those into fours and so on and so forth.

The above was the final one chosen due to its size and there were no double curves present (Unroll doesn’t work with double curved surfaces, ‘SMASH’ is the replacement command and proved not to wield accurate results.)

The model has geometry that folds in on itself in to different planes and would prove difficult to fabricate.

Due to the nature of the polar array we had to conceal the tape which was holding it together. This proved hard as we reached the top of the design as it fold in on itself.

The size of the model prohibited me to put my hand through to tidy the top as you can see the outcome in diagram 2.6.

Diagram 2.7 - Physical Fabrication

Some of the obstacles I encountered could have been overcome if I splayed out the cut and had them connect as one section.

This would allow the top of the model to be connected without tape. Where I have placed the yellow dot is where we could connected the top in diagram 2.6.

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DIGITAL CRAFT CYCLE ONE - COLUMN, VASE OR TOWER?

Curve Type 3

Curve Type 2

Curve Type 1

Diagram 2.8 - Test with various polycurves with different definitions

Diagram 2.9 - Grasshopper Script for a polar array and loft

In the above example I used three different polycurves with a various number of segments and degrees from there nodes. The first curve had two segments and 0 degree change, the second curve had 5 segments with a 30 degree difference from the nodes whilst this had 5 segments and a 60 degree difference from the nodes. This can be seen in the above diagram showing the nodes and polycurves.

Input curve

Parametric controls over number of polar arrays and the degrees out of 360 to array polar.

Weave a set of inputs Pattern to weave

Type of loft 0= Normal 1= Loose 2= Tight 3= Straight 4= Developable 5= Uniform

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DIGITAL CRAFT

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EXPERIMENT/RESEARCH

CYCLE ONE - COLUMN, VASE OR TOWER?

Diagram 2.11 - Grasshopper Script with applied panelling Input curve to be lofted

Geometry input of a spandrel panel, mullion and glazing

LIFT Architects script of panelling tools applied to the LOFT for different possibilities in fabrication.

De-construct a box into its constituent parts

Create a twisted box on a surface

Grasshopper Primer, LIFT Architects

“The plug-in, among other things, allows you the ability to propagate specific geometric modules over a given surface.�

LIFT Architects

Diagram 2.10 - Grasshopper Script with applied panelling Geometry is comprised of a spandrel panel, mullion and glazing. This can be defined to create a various number of options depending on the desired outcome.

Key Words Parametric Design Is a process based on algorithmic thinking that enables the expression of parameters and rules that, together, define, encode and clarify the relationship between design intent and design response.

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DIGITAL CRAFT CYCLE ONE - SURFACE SKIN AND STRUCTURE surface analysis to drive sur- face subdivision to aid in fabrication of more complex geometries

Extrusion

Revolve

Loft

Sweep 1

Sweep 2

Edge Surface

Network Surface

Diagram 3.1 - Surface Commands Introduction to the various ways of creating surfaces. Each command changes the amount of control you have on each surface.

In the above diagram 3.1 you can see highlighted in blue are the edge curves and the lines highlighted in red are the profile curves. Depending on the type of command you will need one or more of these lines.

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DIGITAL CRAFT CYCLE ONE - SURFACE SKIN AND STRUCTURE

Diagram 3.2 - Grasshopper script connecting points 0 0 1 2 3 4

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20

30

2 4 6 8 10 12 14

B

2

8

14

40 13, 16

20

13, 12 13, 8

0 1 2 3 4

Diagram 3.3 - Outcome of script on points

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13, 4 0

0

2

4

6

8

10 12 14 16 18 20 22 24

The above line work was achieve in the script in diagram 3.2. The start, step and count are the same in both X axis.

The above line work was achieve in the script in diagram 3.2. The start, step and count are different across the x axis.

Above we can see how the grasshopper script is jumping in 2s on line A and 6s on line B with no variation in the Y.

The Y axis location are locked in at 0 and 5 showing that there is no change in height of points.

Line B starts at 5,2 due to the start parameter noted in the script above however it also jumps in 2s due to the step parameter.

The panels are controlling the location of what happens to the Y axis.

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Here we can see the Y axis being introduced into the equation. The dotted lines on diagram 3.2 shows how the numbers are increasing.

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DIGITAL CRAFT SURFACE SKIN AND STRUCTURE Discrepencies in grasshopper waffle

Diagram 3.4 - Lofted Surface

The Grasshopper script allowed us to cut the surface created on two different axis. These C planes are represented by the boxes in the image above.

Two problems that occurred during this process were:

- Depending on your curve the surface could be cut twice by the same C plane, resulting in distorted pieces.

- When the C planes were cutting the beginning and the end on each axis it didn’t quite cut through the object correctly due to the surrounding bounding box.

The script gave a good understanding of how to create a waffle structure, however the resulted line work to which we were to laser cut had defects and needed to be altered manually.

Diagram 3.5 - Unrolled surface for fabrication

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DIGITAL CRAFT SURFACE SKIN AND STRUCTURE

Diagram 3.6 - Laser cut waffle structure

Diagram 3.7 - Laser cut waffle structure

After adjusting the number of intersections throughout the frame, the model was quite straight forward to assemble. The notches ended up being the correct width as stated in the Grasshopper script, however it would be quite beneficial if we were able to change the depth.

Fabrication could have been more stable if a different material was used. In this case 1mm card was used, perhaps 2mm MDF would have proved to create stronger and more durable structure.

If the depth could be changed, the need to adjust some of the connections would have been minimised.

Adjust width and gap but not depth

Diagram 3.8 - Laser cut waffle structure

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DIGITAL CRAFT SURFACE SKIN AND STRUCTURE

Diagram 3.9 - Grasshopper script

Input U and V curves as shown in red and blue in diagram 3.1.

Bounding box to set up frames for ribbed structure between surfaces

Offset the create surface

Depth and width of slits in waffle

Unrolling the network surface

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DIGITAL CRAFT SURFACE SKIN AND STRUCTURE

Diagram 3.10 - Jürgen Mayer´s Metropol Parasol. Designplaygrounds. (2018)

Diagram 3.11 - (Responsivedesignstudio.blogspot. co.uk, 2012)

Diagram 3.12 - (Pinterest, n.d.)

Diagram 3.13 - (SUCKERPUNCHDAILY.COM, n.d.)

The waffle structure introduces efficient structural design that can be adapted to many forms. In diagram 3.10 we can see how the technique creates a desired form whilst reducing the amount of construction materials. In diagram 3.11 we can see how it creates an easy to assemble structural chair. It reduces construction time and increases structural integrity.

Key Words Attractor Patterns Are particular kinds of recognisable patterns that can help us understand our systems. They are the “traces” that are left in the system as a result of movement of its agents.

Surface Curvature Evaluates the surface curvature at a {UV} coordinate Inputs: Surface (Base Surface), Point ({UV} coordinate to evaluate) Outputs: Frame (Surface frame at {UV} coordinates, Gaussian (Gaussian curvature), Mean(Mean Curvature)

Numeric Domain A Numeric range domain is a domain that uses one of the numeric data types, but for which you specify a range rather than specific values.

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.1 - Catenary Curves Above is the 2D shape we used for this project. This allows us to create multiple variations using the line work above.

There are 9 lines that can be broken up into 18 to create a number of variations for anchor point placement and therefore challenge the outcome.

The idea behind this task is that when “A chain suspended simply from both ends results in a catenary curve that naturally distributes the static load - in this case tension - evenly between the link in the chain.

When this is flipped vertically and the materials become brick or stone the static load in now compressive.� (GomezMoriana, 2018)

Above is the outcome when we direct the forces upward.

We have only placed anchor point on the outer triangle and hence the design shape that should work in compression.

The image above shows the same shape but with a higher vertical point. This can be due to two reasons: - The lines have been subdivided by a higher number, creating a more vertical structure due to the force applied on a smaller length of line or - The force per Newtons has been increased and hence a more vertical structure is needed to combat these effects.

We have decreased the forces however we have change the number of anchor points.

This has grounded our structure in a particular way which would be hard to increase the verticality of this structure.

The image above shows another variation in the anchor points.

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.2 - Minimal Surface Part two of the tutorial looked at unary force in x, y plane rather than z.

We began with two circles above one another and connected them through grasshopper.

Above shows the kangaroo simulation at play with a relatively low unary force acting on the structure.

Above shows the kangaroo simulation at play with a relatively high unary force acting on the structure.

We looked at manipulating the size and location of the circles and what effect this would have on the structure.

It shows a different pinching point where the forces have the largest impact on the structure

Using Kangaroo simulation we could determine the unary force and show how a tensile fabric could work with these specific forces at play.

Diagram 4.3 - Frei Otto’s Minimal Surface, METALOCUS, 2015

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.4 - Grasshopper Script for minimal surface

Input Curves A+B and the division of those curves.

Creates lines between the two curves and then divides those lines.

Set the division of the input curves as the anchor points.

Flips the data tree between rows and columns and hence creates a lines between the divsions of the previous line connecting input curves.

Merges the vertical lines between input curves and the newly created perpendicular lines.

Hooke’s law springs and length the spring will try and reach.

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.5 - Minimal Thread Network

Part 3 began looking further into Frei Ottos experiments and how we can look at this through grasshopper.

This time we started with a triangle however other shapes can be used as well. We began to divide the triangle and connect the divided points.

Diagram 4.6 - Minimal Thread Network

Above we have control over the number of points formed on each side of the triangle.

“This last technique was used to calculate the shape of two-dimensional city patterns, but also of three-dimensional cancellous bone structure or branching column systems. They are all similar vectorized systems that economize on the number of paths, meaning they share a geometry of merging and bifurcating.�

Franco, 2018

Diagram 4.7 - Minimal Thread Network. Yunis, 2015

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.8 - Grasshopper Script for minimal thread network

Divsion of curve, in this case the division of the triangle.

Exploded all interconnected lines and removed all null values

The force only work below the distance on the number slider

How far the system moves through time with each iteration.

Attraction or repulsion forces as a function of distance

Physics simulation

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.9 - Precidents by Frei Otto (Pinterest, n.d.)

Diagram 4.10 - Precidents by Frei Otto (Pinterest, n.d.)

Diagram 4.11 - Precidents by Frei Otto (FIORDIMELA, 2016)

Diagram 4.12 - Precidents by Frei Otto (Penccil, 2012)

Here in the above diagrams 4.9 to 4.12 we have examples of Frei Ottos experimentation using models. His ideas of minimal surfaces, hanging chain and tensile structures can be seen throughout his career as an architect.

Key Words Catenary Structures A catenary is the curve that an idealised hanging chain or cable assumes under its own height when supported only at its ends.

Discretisation In mathematics, discretisation is the process of transferring continuous functions, models, variables, and equations into discrete counterparts.

This process is usually carried out as a first step towards making them suitable for numerical evaluation and implementation on digital computers

Form Finding Through the elimination of bending and shear forces in the structure, less material and reinforcement is needed. Unlike free forms which are defined mathematically, form-finding shapes rely on the structure and load themselves for definition.

Minimal Surfaces In mathematics, a minimal surface is a surface that locally minimises its area. This is equivalent to having zero mean curvature.

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.13 - Photos of the hanging curve experiment When looking at Frei Ottos experiments, the hanging chain and soap film looked quite interesting to me. I used string and chain for this experiment to give variation in the weight of the material to act as the unary force. I have used washes as extra weight to increase the forces in certain area.

Below we can see the string and washes forming catenary curves.

Diagram 4.14 - Experiment with string and washers

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.15 - Experiment with chain and washers

Above we have the experiment on the left being used with chains and the one on the right with chain and washes. We can see how the washes change the curve compared to the curves without washes.

This experimentation technique shows the effect of gravity when different parameters are changed instantly. We can change the number of anchor points and weights along points of the curves much like using kangaroo in grasshopper.

We can visualised the 3d model straight away and see how our design develops depending on site constraints, making this type of experimentation very useful in practice.

Washers adding extra force to the curves.

Natural catenary curve

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.16 - Soap film experiment for minimal surface

This experiment above was another one designed by the famous German architect, Frei Otto.

He used soap bubble to form a film and from there create various minimal surfaces.

I really responded to the outcomes of the experiment and tried to replicate it myself at home.

I used dishwashing liquid mixed with water at 1:100 ratio to form a strong enough solution.

I used a metal cylinder to create a large enough bubble to experiment with different shapes.

By angling the direction and stretching the cylinder away from the surface, a range of shapes were created.

“His experiments centered on suspending soap film and dropping a looped string into it to form a perfect circle. By then trying to pull the string out a minimal surface was created. It was these created surfaces that Otto experimented with.�

Franco, 2015

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DIGITAL CRAFT CYCLE TWO - FORM FINDING WITH PHYSICAL SIMULATIONS

Diagram 4.17 - Soap film experiment for minimal surface

After experimentation with the soap film, I attempted to place a circle of thread onto the solution. This allowed me to pop at the bubble within the circle of thread and pull in a multitude of directions and see how the soap film would respond.

It was quite a difficult task as the soap film was very delicate and took many goes to get it right. I tried different ratios of solutions to make it stronger but it didn’t really have an impact.

As you can see in the diagram 3.14 I managed to pop the thread and pull on it in an upward direction. We can see how the film responds to create a minimal surface. I would have liked to have created a stronger solution bubble so that I could experiment with larger and more pronounced shapes.

The circle created inside the bubble

The soap film responding to create a minimal surface

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Stellate +0

Stellate +0

(x+2)

Snub +0

Diagram 5.1 - Subdivision through Mesh+ Mesh + subdivision component

Diagram 5.2 - Subdivision rhino script

Diagram 5.3 - Kangaroo Unary Force (Large factor)

This tutorial built on last weeks lesson Once we had set up the grasshopper script and furthered the understanding of the with the subdivision and weaverbird possibilities with kangaroo. loop we were able to control the amount of subdivision and look at using the We began by drawing a equilateral kangaroo simulation from last week. triangle at 0,0,0. Then we used mesh+ to create a subdivision within the triangle. In this task we applied a z direction unary force to act on our triangle. We used 3 In this exercise we used Stellate +0 anchor point which were located at the 3 however other subdivision methods as points of the triangle. seen in diagram 4.1 can be used.

Diagram 5.4 - Z direction force

Diagram 5.5 - Kangaroo Unary Force (Small factor)

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Diagram 5.6 - Kangaroo mesh with various factors and anchor points Above shows the result from the Kangaroo Simulation with a low unary force

Above shows the result from the Kangaroo Simulation with a high unary force

Diagram 5.7 - Stress analysis defined by tension and compression De-construct Domain - to +

This will portray the difference in length of edges from the offset.

- (Negative) means that the deformed mesh edges are bigger than the original mesh length (Stretched in Tension

Above shows the result from the Kangaroo Simulation with different set of anchor points

Above shows the result from the Kangaroo Simulation when we offset the mesh.

+ (Positive) means that the deformed mesh edges are shorter than starting edges (They have been compressed).

In the images above we can see that the mesh has been compressed at the anchor points whilst around the middle we can see the tension.

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Diagram 5.8 - Various outcome with different subdivisions from Mesh+ Above we can see the how the mesh and deformed mesh have been combined.

This option shows a low unary force and different pattern from mesh+

Above shows a high unary force with a subdivision different to the other two examples.

Above shows another subdivision called Tri Frame which has left a void within the center of the mesh.

Different anchor points were used in this example displaying the different possibilities using mesh+ and Kangaroo.

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Diagram 5.9 - Finished structure using mesh+ and Kangaroo Once we offset the mesh and used the subdivision to create a compressive structure we had to realise how to fabricate it.

For this task we were required to 3d print a section of the above structure. I decided I would print 3 parts of the structure at different points due to the difference in thickness and to test the strength across various points.

Once I split the structure and converted to an STL file we realised we would need to use the powder printing due to the constant angle that the structure would be printed.

When I collected the prints, certain parts of the print had collapsed due to fragility.

Diagram 5.10 - 3d prints

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Diagram 5.11 - Grasshopper Script

Construct a mesh from points

Weaverbird plug-in to subdivide mesh

Vertical unary force

Hooke’s law springs and length the spring will try and reach

Kangaroo simulation of Zombie kangaroo snap Offset mesh the vertical unary force shot of the final output and the spring from from kangaroo line component

Initial mesh

Here we can highlight graphically how the displacement mesh as varied from the vault mesh.

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DIGITAL CRAFT CYCLE TWO - MATERIAL OPTIMISATION THROUGH STRESS ANALYSIS

Diagram 5.12 - Millipede at Sawapan, Michalatos, 2018

Diagram 5.13 - Karamba, Preisinger, 2018

“Millipede is a structural analysis and optimization component for grasshopper. It allows for very fast linear elastic analysis of frame and shell elements in 3d, 2d plate elements for in plane forces, and 3d volumetric elements. All systems can be optimized using built in topology optimization methods and have their results extracted and visualized in a variety of ways.

“Karamba is being developed by Clemens Preisinger in cooperation with Bollinger-GrohmannSchneider ZT GmbH Vienna. Its dissemination is a team effort. We are an interdisciplinary team of architects and structural engineers who use Karamba in our daily office work at Bollinger-GrohmannSchneider.” Preisinger, 2018

In addition millipede implements a few basic geometric features [extraction of iso surface meshes from volumetric scalar fields or and extraction of curved contours over any mesh] and a few numerical analysis tools [Fast fourier transforms in 1 and 2 dimensions, sparse linear system solver and eigenvalue calculation for large matrices using functionality from the intel math kernel library]

Karamba is a structural engineering program linked with grasshopper and rhino. Above have an example of a project completed on karambaa website showing the completion of this structure along with its work flow.

The new version of millipede includes the surface reparameterization module that enables the generation of vector field aligned patterns over any mesh. This functionality is particularly useful for the creation of principal stress aligned grid shells and reinforcement patterns.” Michalatos, 2018

Key Words Topological Optimisation Is a mathematical method that optimizes material layout within a given design space, for a given set of loads, boundary conditions and constraints with the goal of maximizing the performance of the system.

Soft Kill Optimisation In the creation of any type of structure, there is an energy cost required to produce and maintain the materials that make up that structure. In the natural world, energy costs can mean the difference between surviving and not surviving for a given biology. Therefore, it is advantageous for a given biology to reduce the amount of material used in its structure.

Eigenfunction and Eigenvalue In mathematics, an eigenfunction of a linear operator D defined on some function space is any non-zero function f in that space that, when acted upon by D, is only multiplied by some scaling factor called an eigenvalue. As an equation, this condition can be written as. for some scalar eigenvalue λ.

Finite Element Analysis Finite Element Analysis (FEA) is a type of computer program that uses the finite element method to analyse a material or object and find how applied stresses will affect the material or design. FEA can help determine any points of weakness in a design before it is manufactured.

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DIGITAL CRAFT CYCLE THREE - CUSTOM GENERATIVE PATTERNS WITH ANEMONE Angle of Branching Determines location of the horizontal frame 1 Radius of Branching

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Diagram 6.1 - Determining the horizontal frame and angle for tree branching In this lesson, custom generative patterns with anemone, we looked a different fractal patterns. This is where a geometrical figure where each part has the same statistical character as the whole. Similar patterns such as a snowflakes which recur at progressively smaller scales.

We began with the idea of branching. We drew a straight line from point 0,0,0 and then we had to build off the line a set of two lines.

The start point was to locate where the branching would begin. This is where the horizontal frame would be useful.

Above we are determining radius and angle from the horizontal frame.

Radius

Diagram 6.2 - Grasshopper script showing the parameters Second set of branching by duplicating the script however we get a dotted line in the script meaning there is cross referencing going on between the new division point and the end of the trunk lines.

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Diagram 6.3 - Tree branches fractal Anemone looping of previous script.

Repetition x 3.

Anemone looping of previous script.

Repetition x 9.

Anemone looping of previous script.

Repetition x 3 with a different set of radius length and number of branches.

Branch angle = 30 Radius = 5 Number of branches = 3

Anemone looping of previous script.

Repetition x 3 with a different set of radius length and number of branches.

Branch angle = 47 Radius = 1 Number of branches = 1

Anemone Looping plug-in to prevent copying of scripts

Diagram 6.4 - Tree branches fractal

Diagram 6.5 - Tree branches fractal with anemone

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DIGITAL CRAFT CYCLE THREE - CUSTOM GENERATIVE PATTERNS WITH ANEMONE Guide curve input Distance from the curve

Cull pattern effect on generative pattern

Domain determining parameters A list determining what to cull

Diagram 6.7 - Inputting a guide curve in grasshopper

A guide curve can be useful in directing a pattern or limiting the spread by distance for example. We can see in Diagram 5.6 how the fractal still multiplies as it gets more branches however you can visualise how the guide curve effects the generation of the pattern.

Guide curve

Diagram 6.6 - Using a curve as a guide for the fractal

Where the yellow dot has been places on diagram 5.6 we can see how the guide curve due to its sharp curve has culled the pattern by a substantial amount of branches compared to the more vertical segment of the curve. This was created in the above grasshopper script (Diagram 5.7). The script determines the curve to follow and that parts of the generative script to cull which is decided by our distance parameters from the curve itself.

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DIGITAL CRAFT CYCLE THREE - CUSTOM GENERATIVE PATTERNS WITH ANEMONE

1 Segment 1

Segment 2

2

3 Midpoint to move

1

2

1

3 Attractor

2 3

Segment 3

Guide Curve

1 2 3

Diagram 6.8 - Fractal composition Introducing a snowflake fractal. We first set our points so we can break the line to form our fractal.

Copied script to repeat fractal.

Copied script to repeat fractal.

Divide line into 3 segments .5 = midpoint to move Direction to move midpoint

Diagram 6.9 - Fractal composition without anemone

Fractal anemone loop with attractors and guide lines.

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DIGITAL CRAFT CYCLE THREE - CUSTOM GENERATIVE PATTERNS WITH ANEMONE

Diagram 6.10 - Snowflake grasshopper script with attractors

Attractor that remaps and moves the points within the domain.

Domain which gives minimum and maximum.

the

Anemone looping the fractal to refrain from copying scripts.

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DIGITAL CRAFT CYCLE THREE - CUSTOM GENERATIVE PATTERNS WITH ANEMONE

Diagram 6.11 - Continuation on fractal creation.

In the above diagram 5.11 we can see various types of fractals. On the grasshopper3d forum I found a thread regarding fractals and a custom script.

The VB script component lets you create a custom code to directly link with what you want the component to do.

VB allowing for script creation

In the script you can decipher certain aspects of the script creation such as A = result , temporary direction and temporary branch etc.

This gives a further depth to the possibilities with grasshopper opening the world of coding.

Diagram 6.12 - Grasshopper fractal script from grasshopper forum.

Key Words Iteration Repetition of a mathematical or computational procedure applied to the result of a previous application, typically as a means of obtaining successively closer approximations to the solution of a problem.

Recursive structure Is a simple idea (or shorthand abstraction) with surprising applications beyond science. A structure is recursive if the shape of the whole recurs in the shape of the parts: for example, a circle formed of welded links that are circles themselves.

L-System A Lindenmayer system, also known as an L-system, is a string rewriting system that can be used to generate fractals with dimension between 1 and 2. Several example fractals generated using.

Cellular automaton Is a collection of “coloured� cells on a grid of specified shape that evolves through a number of discrete time steps according to a set of rules based on the states of neighbouring cells. The rules are then applied iteratively for as many time steps as desired

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DIGITAL CRAFT CYCLE THREE - CNC MILLED RELIEF MAPS

X and Y are to be set to the size of your image or output size.

This will determine the size of the foam you want to cut or section of the image you would want to use

Diagram 7.1 - Generative Pattern

Diagram 7.2 - Loading the generative pattern into grasshopper

This tutorial builds on the previous fractal lesson. We begin by using a black and white image. It can be any image of your choice however we want it to be black and white for this exercise.

We begin by uploading our image into the image sampler. You first want to look at the properties of the image because this will determine your X and Y domain.

We will look at how we can turn the above image into a map/terrain by using grasshopper to determine heights for different colours on the black to white scale of image sampling.

If you don’t want the full image you can edit or crop the image in a program such as Photoshop to make it easier in getting the exact portion you need. In this case we set the X domain to 200 and the Y domain to 200.

The size of the image could also determine the size of the CNC map you want to produce.

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Diagram 7.3 - Generative design for CNC

In the above diagram 6.3 we have assigned the image a set of dots depending on what colour range they land within. These colour ranges are then assigned heights.

The height range can be adjusted to suit scale and fabrication so for this case the maximum height could be 50 due to the blue foam from the fab lab being 50mm high.

Once we have a set of dots we created a mesh from the points. We can see the mesh in diagram 6.4 in relation to the dots.

Diagram 7.4 - Generative design for CNC

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Diagram 7.5 - Generative Pattern We introduced the branching fractal from last weeks lesson to see what impact it could have on a relief map.

Above shows the outcome of the branch on the dots. As you can see the branching fractal remains at 0 however each other section is raised. The branching formed a valley within our relief map.

Above shows the conversion of the dots into a mesh surface which we can use to CNC.

Above we show how the heights can be flipped and in turn we get the reverse effect of the branching.

We can see the effect the height plays on the surface and how this technique could be used in multiple different areas for a highly detailed terrain.

Diagram 7.6 - Generative Pattern

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Diagram 7.7 - CNC in progress

Diagram 7.8 - Top view of generative pattern to show branching structure

Diagram 7.9 - Front view of generative pattern

The diagram 6.8 shows the finalised product after the CNC milling has taken place. Due to Norman (The machine I used) the smallest drill piece was 6mm which was used for the finishing layer. This may have not produced the best finished product.

We can also notice the effects of the drill piece in elevation.

The drill has made a stepped texture on some ridges and valleys which could be avoided if a smaller machine was available to use at the time. On the smaller machines a drill piece of 2mm is available and would have reduced the stepped texture considerably.

We can see the CNC machine Norman in work above using 6mm and 12mm bull-nose drill pieces.

The minimum and maximum height can be controlled of the relief map if you construct a domain.

Diagram 7.10 - Domain determining height of output.

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Diagram 7.11 - Grasshopper Script for a generative pattern for CNC

Resolution - Number of points or how detailed the relief map will be.

Min and Max height output

No. of colours which is directly effected by resolution

Each colour has a assigned height value

Creating a surface from points

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Diagram 7.12 - Generative patterns for relief maps The grasshopper script in place for tutorial 6 for CNC relief maps can also be applied to various number of images.

For example in diagram 7.12 we can see an image of a child be used to create 3d image of his face. The resolution can be altered to have a clearer definition. This technique could be used for moulds for sculptures along with many other applications.

Key Words CNC milling Is a specific form of computer numerical controlled (CNC) machining. Milling itself is a machining process similar to both drilling and cutting, and able to achieve many of the operations performed by cutting and drilling machines. Like drilling, milling uses a rotating cylindrical cutting tool.

Height Map In computer graphics, a heightmap or heightfield is a raster image used to store values, such as surface elevation data, for display in 3D computer graphics.

Relief Patterns The difference between the highest and lowest elevations in an area. A relief map shows the topography of the area.

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DIGITAL CRAFT CYCLE FOUR - STUDIO INTEGRATION

Through the initial manipulation of a primitive form, primarily two striking vertical cuts, the Object focuses on verticality and light. The intention of the counterObject, other than acting as the main circulation space, is a manipulation of amalgamated delicate sticks to create effects akin to that of a forest (dappling of light and verticality) which enhances the users’ experiences of verticality and light whilst meandering through the Object.

The utilisation of pixels, instead of floor plates, occurs in the main internal areas in order to further enhance verticality and take advantage of light; the scale of the superObject spanning across three Manhattan blocks means that individual pixels can house their own typologies, as well as formations of pixels. The interplay of various densities of pixels (Object) and sticks (counterObject) between the two cuts (Object) creates specifc moments of drama in the superObject such as instances of exposure, enclosure, privacy, publicity and voyeurism.

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Diagram 8.1 - Precedents for box design

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Diagram 8.2 - Precedents for pipes

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Diagram 8.3 - Looking at how a tree can inform the design of the pipes

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Diagram 8.4 - The outcome of the informed tree design to relate to the pipes

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Diagram 8.5 - Different ways pipes can control light

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Diagram 8.6 - Different ways pipes can prohibit light

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Diagram 8.7 - Grasshopper Script for Boxes and pipes part 1

Primitive to populate with boxes and pipes

Number of boxes and pipes.

Point that acts as an attractor determining length of pipes.

Point that acts as an attractor determining straight pipes.

Random angle of rotation in X, Y and Z direction

Determines where rotation of pipes will occur.

The verticality attractor skips the random rotation which determines how the pipes closest to this will be more vertical.

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Verticality Attractor Pipe length attractor

Verticality Attractor Pipe length attractor

Verticality Attractor Pipe length attractor

Diagram 8.8 - Grasshopper Script parameters showing control over Rotation, size and number Above we can see the grasshopper script without any attractors. We can see the random rotation at play and how most of the pipes are the same length due to the attractor not being at play.

When we introduce the verticality attractor and the pipe length attractor we can instantly see the difference.

Here we have reduced the number of pipes in the brep and moved both attractor to the bottom.

The pipes at the top are almost vertical due to the attractor whilst the pipes at the bottom have a larger rotation.

This has cause the smaller pipes to be more vertical and the longer pipes to have a larger rotation.

We can see how the pipes have a shorter length also due to the length attractor.

In the above diagram we can see the inverse of the previous. The top pipes are short and straight whilst the bottom pipes are long and have a larger random rotation.

We can add multiple points of attraction for both length and verticality to inform the design to a greater level of detail.

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DIGITAL CRAFT CYCLE FOUR - STUDIO INTEGRATION Wireless connection to piping script for brep and 3d populate.

Diagram 8.9 - Grasshopper Script for Boxes and pipes part 2

Reference curve will determine the effect of the control curve.

Control curve input will effect the size of the boxes in relation to the reference curve.

Will reduce the number of boxes randomly to get a more natural placement of boxes.

This domain determines the minimum and maximum sizes of the boxes.

Box geometry for baking.

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DIGITAL CRAFT CYCLE FOUR - STUDIO INTEGRATION Reference curve Control curve

Control curve Reference curve

Control curve Reference curve

Reference curve Control curve

Reference curve Control curve

Diagram 8.10 - Grasshopper Script parameters showing control over size and number Above we can see how there are a small number of boxes due to the parameter controlling the count in the 3d populate brep.

The control curve is also further away from the reference curve causing the boxes to be smaller.

Above we can see the same number of boxes however the control curve being close to the reference curve increases the size of the boxes across the brep.

We can see above the number of boxes has been substantially increased in the 3d populate brep causing number of boxes to intersect.

In the above diagram we can see how the boxes are larger due to the control curve but there is also another aspect in play.

I am hoping to achieve boxes that can intersect and create a large cluster form of boxes for my design project.

I have increased the minimum and maximum sizes in the construct domain to naturally enlarge all boxes.

We get a larger range of possibilities.

Here we see the same domain settings as the previous however we have change the direction of the control curve and this has effected the number of boxes and reduced the sizes substantially.

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Diagram 8.11 - Grasshopper Script parameters for control over box size and distribution

Above we have the boxes distributed in the way that I wanted for the studio project.

The boxes ranged from3x3m to 9x9m.

They increased in size towards the top of the building.

We can see in the snapshots how the density developed and how the script helps us develop the organisation aspect of size and distribution.

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DIGITAL DESIGN - CALLUM STUBBINGS

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Diagram 8.12 - Initial Desired Design

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Diagram 8.13 - Limitations of makerbot 3d printing Once I was happy with the layout of the boxes I needed to look at how we could 3d print this.

Due to the size of the model we were producing the boxes had to be split up over numerous prints.

This could possibly cause a problem in connecting the boxes after completion.

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DIGITAL DESIGN - CALLUM STUBBINGS

DIGITAL CRAFT CYCLE FOUR - STUDIO INTEGRATION

Diagram 8.14 - Using support material from makerbot to add to our design.

As you can see in the above diagram the orange colour is the support material for the makerbot.

This doesn’t need to be turned on, however I kept it on due to the nature of the boxes mixing with the pipes.

My Studio tutor suggested keeping this to suggest the impact of the pipes.

Model material Support material

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Diagram 8.15 - Makerbot 3D printing

Above we have the maker bot in process. We can see some of the support material sagging along with some of the boxes appearing not to have straight surfaces on every side.

Diagram 8.16 - Makerbot 3D printing

Some deformation on the model material

Support material sagging and not maintaining form.

Support material sagging and not maintaining form.

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Diagram 8.17 - Final 3D print

The final outcome has some problems such as connecting the individually print parts and some deformation in areas. Most of the print was done quite well however we will look at constructing there boxes in another few ways such as contouring and unrolling to see what has a better result.

Diagram 8.18 - Final 3D print

Slight deformation in support and model material.

Support plate restricts connection.

Poor connection between individually printed parts

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Diagram 8.19- Contouring boxes as another method of fabrication Above we have our final box arrangement for the final model.

We decided to contour the boxes on acrylic and weld them together with acrylic weld.

The face will connect all boxes together acting as its support.

Set A

Set B

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Diagram 8.20 - Contour Pieces for laser cutting

Set A Above is the layout for laser cutting. The contour was laid in order to determine the glueing order and to tell which set of boxes each one belongs too.

Due to the scale the wall support is looking fragile and might pose problems when printing or glueing.

Set B

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Diagram 8.24 - Grasshopper Script for Boxes and pipes part 2

Diagram 8.25 - Grasshopper Script for Boxes and pipes part 2

Diagram 8.26 - Grasshopper Script for Boxes and pipes part 2

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Diagram 8.27 - Unrolling Process to connect boxes in rhino For the 3rd level of experimentation we looked at constructing the boxes through paper models and the unrolling process which we learn in week 1.

In my studio project the boxes are various sizes and have all different types of cluster combinations.

Here we tried four various cluster combinations to see the difficulty in fabrication.

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DIGITAL DESIGN - CALLUM STUBBINGS

DIGITAL CRAFT CYCLE FOUR - STUDIO INTEGRATION

Diagram 8.28 - Unrolling Process to connect boxes in rhino Due to the unroll in rhino and grasshopper the box combinations had to be split up and from there we will create our own separate half completed boxes to re-assemble in stages.

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Diagram 8.29 - Unrolling Process to connect boxes in rhino Once I completed the box construction process we can see some simple problems in creation.

Due to the thickness of the paper (160gsm) the rigidity of the models were quite bad. We can see in the diagram how unstable some of the boxes are.

Due to this process not using a laser cutter the precision of the cutting plus joining of side were a lot worse off which were all contributing to the poor fabrication.

In the future if access to the FABLAB was available, the laser cutting process would have been a lot more accurate with a 1.2mm thickness of card to maintain the support.

Box combination proving unstable

Paper joins are showing gaps due to human error

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DIGITAL CRAFT REFERENCES

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at:

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ThoughtCo. (2014). Understand the Geographic Term ‘Relief ’. [online] Available at: https://www.thoughtco.com/ relief-geography-definition-1434845 [Accessed 5 Jan. 2018].