Dagmar Reinhardt, Robotic Weaving-C2P Code to Production (2018)

| ROBOTIC

WEAVING:

robotic design elective and exhibition for Sydney Design Festival edited by Dagmar Reinhardt, The University of Sydney, Sydney School of Architecture, Design and Planning (2018).

C2P Team: D Reinhardt, E Barata, R Watt, L Masuda Participants: Zekun Quin (Jake Ivan), Tingyu Zhang, David Da Costa, KEUN YONG KIM (GREG, Shengyuan Yang, Luqiu Zheng, Tingyu Zhang, Matthew Hunter. Santiago Catanzano John Culshaw .

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| SYDNEY DESIGN FESTIVAL

High-Strung: Robotic Design Discover where designers and robots meet. With the rising popularity of digital fabrication tools such as 3D printers, laser cutters, CNC routers and six-axis robots, new design freedom is emerging. This catalyst technology enables designers to rethink traditional craft practices, execute an unlimited variety of non-repetitive tasks, trial material applications for mass-customisation and bespoke design solutions and democratise design.

View a showcase of design research into ‘excitable matter’, produced by students and researchers of the Sydney School of Architecture, Design and Planning.

The research explores craft and material knowledge rethought with cutting edge technology for the 21st century. Exhibited prototypes and models have been fabricated using industrial robot arms and Microsoft Hololens mixed reality headsets, proposing an exciting future for the design and architecture profession.

C2P Team: D Reinhardt, E Barata, R Watt, L Masuda Students: Zekun Quin (Jake Ivan), Tingyu Zhang, David Da Costa, KEUN YONG KIM (GREG, Shengyuan Yang, Luqiu Zheng, Tingyu Zhang, Matthew Hunter. Santiago Catanzano John Culshaw .

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| research elective

SECTION 1 C2P 2018. ROBOTIC CARBON FIBFRE WEAVING. Code to Production is an elective that explores the potential of an iterative design process from parametric variations; to analysis and simulation; to digital prototyping and manufacturing. The course has a two-fold agenda: to examine the performance of complex geometries available through sophisticated computational design processes, and to translate the optimised design by digital manufacturing into robotic experimentation and prototyping Based upon the development of a series of controlled variations derived through parametric and scripting methods, the elective aims to further expand an understanding of geometry and architectural performance between informed by robots, materials and sensors. It reviews an open system of design research in which design process, computational modeling and robotic fabrication are deployed in a test series and worklab scenarios so as to derive approaches and detailed fabrication knowledge for architectural practice.

The potential of robotic fabrication and manufacturing has been accelerated through industry, practice, construction and manufacturing in recent years. This unit provides students with a pedagogical framework for understanding basic robotic fabrication approaches in a guided study and with customized exercises. We will develop design thinking for new material process such as carbonfibre threading, test formative robotic fabrication, investigate toolpath development, and explore designs for a structural performance of carbon-fibre woven structures.

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|WEAVING EXERCISES

fig 1. description of what happens in the picture, fig 1. description of what happens in the picture, fig 1. description of what happens in the picture, 2 lines 2 lines 2 lines

fig 1. description of what happens in the picture, fig 1. description of what happens in the picture, fig 1. description of what happens in the picture, 2 lines 2 lines 2 lines

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

robot simulation in kuka

robtoic clay patterning sequence 1-25

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|JIG AND WEAVE PATTERN YUXIAO WANG Pattern 1 - simple crossing

PATTERN 1

weaving sequence - first layer

weaving sequence - second layer

The first pattern is a simple crossing pattern that is similar to show lacing. The thread goes through each anchor point on both sides consecutively. Because the jig has an up side and an lower side, the first layer of the weace is to go from the upper right side to lower left side, and the second layer goes from the lower right side to the upper left side. This creates three dimentional complexity to the pattern. The other thing to note is the looping around the anchor. The thread first approach the opposite side of the anchor than loop back and crosses itself before heading towards the next anchor. This allows the thread to have maximum contact points and provides more tension and strength.

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|JIG AND WEAVE PATTERN YUXIAO WANG Pattern 2 - threading around nodes

PATTERN 2

The second pattern explores the possibility of creating “nodes” by threading over existing lines. The first pass of the thread needs to be loose to allow the next pass to loop around the centre of the first pass. The position of the thread can be adjusted by adjusting the tension of the threads. Based on this pattern, the number of nodes can be in- creased to create more complex layering effects.

Variations to Pattern 2

variation 1 - the central node pattern on a flat jig.

variation 2 - using the base as the node in a curved jig.

There are several variations to this pattern. Firstly, I explored creating the pattern on a flat jig, and tested the relationship between the tensioning of the threads and the location of the node, and discovered that the nodes tends to slide closer to the side which is in greater tension. Then I used a curved jig to test the pattern but instead of threading onto itself, I used the base of the jig as a nodal point. In this case, the tension of each threads tends to distribute evenly.

variation 3 - the central node pattern on a curved jig

variation 4 - multiple nodes pattern on a curved jig

Then I repeated the first variation on the curved jig. It should be noted that due to the threads being pulled toward the node at the centre, some anchors are not in a favourable angle and as a result the thread tend to slide off the anchor. This problem can be addressed by improving the shape of the anchor, such as “T” shape anchor. The 4th variation is a two-layered version with two nodes. It is possible to further increase the number of nodes with a larger jig.

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|JIG AND WEAVE PATTERN YUXIAO WANG Pattern 3 - single strand self crossing

PATTERN 3

Weaving pattern - first layer

Weaving pattern - second layer

Weaving sequence - 1 layer with different cross locations

Weaving sequence - 2 layers with different cross locations

To create this pattern, start by taking the centre of the thread and loop the two ends on the anchors on each side. In the next pass, the two ends crosses each other and goes back to the next anchor on its original side, vice versa. This creates a single strand pattern which has crosses along the centre. The crosses can also be pulled to the sides by adjusting the tension of ech thread. I also experimented the pattern with two layers of threads. The limitation of this pattern is that the cross movement of the two ends are difficult to realise with the robotic arms.

It may be possible to use two robots to weave such pattern but the feasibility needs further study.

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|JIG AND WEAVE PATTERN DAVID DA COSTA PATTERN 1 The initial weaving studies were analogue studies of weaving patterns. The weaving patterns were woven using builders rope through a pre fabricated perspex jig. The aim of which was to experiment and find weaving patterns with desirable qualities that could then be applied using the robot to larger more complex structures.

Desirable qualities included having multiple cross over points to increase structural connections and enough pressure applied during the weaving process to allow for the adhesion of the fibres during the weaving process.

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fig 1 weave converges around a single point.

Fig 2. Weave pattern: {1;A;0;J;2;B;9;I;3;C;9;I;3;C;8;H;4;D;7;G;5;E;6;F}

fig 3 despite aiming to increase cross over this pattern lacks density at the edges

fig 4 Shows lack of density in the weave.

As-well as finding desirable structural qualities. The patterns also aimed to explore variations in surface, volume and density possible with the weaving patterns.

The initial test aimed to explore the way in which the builders rope behaved when the weave pattern forces it to cross over itself. The pattern was limited to using a single node once and aimed to generate a surface with as many cross over points as possible using that constraint through the use of diagonal weaves crossing over perpendicular parallel weaves.

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|JIG AND WEAVE PATTERN DAVID DA COSTA PATTERN 2 1

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fig 5 Weave based on diagnaols converegaes at the centre of the jig

fig 6 Weave pattern: {B;8;D;6;F;4;H;1;J}

fig 7 Weave again lacksdensity

fig 8 weave pulled in onto itself under tension by working from higher nodes to lower nodes

The second weaving pattern experiment with relied on using a diagonal pattern and a mix counter clockwise and clockwise rounds on the pegs. The aim of which was to create cross nodes under tension. Buy weaving from high points to low points.

The result converged around a single point at the centre of the jig but still lacked the desired density needed to define a the weave as either a surface of volume.

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|JIG AND WEAVE PATTERN DAVID DA COSTA PATTERN 3 1

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fig 9 The weave is dense.

fig 10 Weave pattern {1;A;1;B;1;C;1;D;1;E;1;H;1;I;1;J;2;A;2;B;2;C;2;D;2 ;E;2;F;2;G;2;H;2;I;2;J;3;A;3;B;3;C;3;D;3;E;3;F;3;G;3;H;3;I;J;3}

fig 11 more cross over under tension creates better possibility of structural connection using carbon fibre.

fig 12 Weave does lack symmetry weighted towards the right hand side.

The third pattern explored aimed at maximising the density by using a weave pattern to create a pattern by joining each node on the left hand side to each node on the right. By working from higher nodes to lower nodes the weave again pulls onto itself to create a surface which maximises the contact between strands to increase potential the structural connection of the weave. However issues developed with the amount of rope being wrapped around each node point limiting the weave.

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM session 2: pattern instruction

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fig 13. axonometric view

fig 14. top view

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fig 16. axonometric view

fig 17. top view

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM session 2: pattern instruction

session 2: body and skin

fig 18. side view

fig 19. front view

After the yellow body was formed, volumetric zoning is attempted as shown in orange.

This was an experiment of dissecting the qualities of the assembly to focus on finding purpose and strengths in each counterparts.

Through the process of dividing the skeleton from the whole, it no longer has obligation of keeping form and becomes an anchor where the skin would be introduced to assume these foundations to create the geometry.

Two problems were identified during the process of producing the weaving pattern. Node 30~37 shown on pattern instruction does not have fixed notch that permanently hold the intersection. The intersection is kept on check through the multiple direction of tensile force of the fibre as shown in fig 28 but at the same time, it is not a reliable mechanic. And the curvature on the arm does not add to the experiment.

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM session 2: pattern instruction

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session 4: interactivity of the modular jig

robot simulation in kuka

robtoic clay patterning sequence 1-25

fig 37. weaving relaxed and sagging while idle

fig 38. weaving in tensile while pulled

Over the course of tightly weaving, previous arrangements became loose and slack due to the jig sagging. In ways to remedy this is to create a bracing but also the fibre can be interactive by pulling the members to re tensile the intersections. Because of all the weaving goes through the node on the arm, a simple tug on the two side is enough to stretch the surface.

To further investigate the weaving, lower back arms are utilised to create multiple intersections.

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fig 36. axonometric view of modular jig

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM

session 4: weaving on modular jig

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session 4: pattern instruction

REPEATACCORDINGLY

RIGHT PATTERN

A1 D1 F2 B1 E1 A2

REPEATACCORDINGLY

LEFT PATTERN

B1 C1 F1 A1 E1 B2

fig 40. pattern diagram of weaving iteration

fig 39. pattern diagram left and right

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM

session 4: modular variations

fig 45. evenly pulled modular arm

fig 46. modular arm anchoring the intersection fig 47. modular arm pulled up to skew the intersection

fig 44. modular arm is pulled out to manipulate the weaving

The use of extra limb in the rear give more potential for an interconnectivity among the weaving. Fig 44-47 illustrates the different qualities of intersection when the arm if dislocated and freely pulled in different direction.

fig 41. frontal view of right side weaving

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fig 42. top view of right side weaving

fig 43. axonometric view of right side weaving

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fig 1 (right): weaving exercise 1. manually threading and sketching.

|JIG AND WEAVE PATTERN GREG KEUN YONG KIM

fig 2 (following pages): weaving sequence diagrams in plan view. red denotes each current step.

session 4: modular variations

The initial weaving exercises explored patterning sequences using the technique threading builders rope through a perspex jig to create tensile, threaded structures.

My first study used an incremental sequence easily achievable by a programmed Kuka robotic arm. The jig’s nodes were assigned numbers on one side and letters on the other, in an ascending order following the jig’s geometry. Point 1 was taken as the origin point from which each sequence began and this was maintained the origin throughout the exercise. The first step was to thread the string from point 1 on to point A diagonally across the jig in the opposite side and then back to point 2 - this was considered the pattern to follow. From here on, the thread was passed back around point A and on to the successive number on the opposite side repeatedly until it all numbers had been used.

The sequence was then repeated for each letter using the same principle of always starting at point 1 and always returning back to the letter being used before continuing in ascending order after each thread. Through a repetitive and incremental pattern with a series of constant parameters a richly dense, complex tensile geometry was achieved. The exercise was conducted with a focus on being potentially robotically fabricated, testing sequences and paths that would be achievable and programmable for a robotic arm such as the Kuka type.

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|JIG AND WEAVE PATTERN GREG KEUN YONG KIM

Exercise 2

fig 6 (right): weaving exercise 2. manually threading and sketching. fig 7 (following pages): weaving sequence diagrams in plan. red denotes each current step.

The second exercise aimed at combining a sequence which is programmable and capable of being fabricated with a robotic arm together with the aid of manual intervention for securing fixings.

The jig used was similar to the one used for the first exercise (two identical geometries opposite each other) with the same number of nodes but semi-circular this time. For this reason the same system of labelling nodes was used.

The first step was to connect opposite nodes in the shortest way possible, by extending a single piece of thread (1 to J, 2 to I, etc). After this, adjacent strings were tied together into five groups of two by adding two connection points manually, in our case simply tying them with another piece of string. The resulting geometry resembles a mirrored Y-shape with a straight segment and two forking ends. Lastly, string was threaded through each of the connection points previously made, in a zig-zag fashion from left to right in one direction and then backwards, covering every connection point.

The final result is a netted pattern which gains its tensile strength via the addition of connection points. If the connection points were undone or came loose, then the structures integrity would be compromised. This exercised was an experiment into a potentially hybrid process of fabrication, where a robot arm could be used to thread and a human arm used to secure the fixing points.

Weaving sequences in steps 1

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ABCDEFGHI J

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ABCDEFGHI J

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1-A, A-2, 2-A, A-3, 3-A, A-4, 4-A, A-5

1-A, A-2, 2-A, A-3, 3-A, A-4, 4-A, A-5, 5-A, A-6

1-A, A-2, 2-A, A-3, 3-A, A-4, 4-A, A-5, 5-A, A-6, 6-A, A-7

1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5

1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5, 5-B, B-6

1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5, 5-B, B-6, 6-B, B-7

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1-A, A-2, 2-A, A-3, 3-A, A-4, 4-A, A-5, 5-A, A-6, 6-A, A-7, 7-A, A-8, 8-A, A-9

1-A, A-2, 2-A, A-3, 3-A, A-4, 4-A, A-5, 5-A, A-6, 6-A, A-7, 7-A, A-8, 8-A, A-9, 9-A, A-10

ABCDEFGHI J

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1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5, 5-B, B-6, 6-B, B-7, 7-B, B-8

ABCDEFGHI J

ABCDEFGHI J

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1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5, 5-B, B-6, 6-B, B-7, 7-B, B-8, 8-B, B-9

1-B, B-2, 2-B, B-3, 3-B, B-4, 4-B, B-5, 5-B, B-6, 6-B, B-7, 7-B, B-8, 8-B, B-9, 9-B, B-10

fig 5 : model photographs

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|JIG AND WEAVE PATTERN Team ‘Hanging Frames’

Weaving Processes

Small frame - Diagram of Processes

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hanging frame weaving

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Iteration 1 - Weaving on the large hanging frame Large frame - Diagram of Processes

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|JIG AND WEAVE PATTERN Matthew Hunter

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Establishing the network The script takes 3 points on the floor, the floor, and the ceiling. Creating lines between each, excluding the points, which share the same surface. The series of interconnected points form the base network of springs.

Simulating the wool thread The springs are based off a constant length averaged division, which attempt to maintain a constant rest length, which is relative to the segments starting length. The points along the spring are interconnected into 59,685 attraction forces using the PowerLaw component for kangaroo, which operate as a function of relative distance. Bending forces are also applied to the network of springs to provide bending resistance across each of the structural members with the aim of simulating the properties of ply wood strips.

Rationalising the network setout to create manageable connections The connections are all essentially defined using the average vector and the surface base planes. To avoid clashes with the starting surfaces in which to nodes are hosted (floor, ceiling & wall), the sleeve for the hosting member and the ply wood strip ends is offset in the direction of the average vector using trigonometry. The average vector is projected onto the hosting surface vector and the difference is angle is multiplied by Tangent, which is divided by radius with 15 mm of tolerance.

(CL offset Radius / (Tan (difference in angle))) + 15mm tolerance

Fabrication breakdown of the connections The connections themselves are fabricated using 6mm plywood due to budget constraints. These connections are constructed with a radial base plate, which can be fixed to the wall, floor or ceiling. To support the forces of the plywood strips four supporting triangular pieces are orientated towards the average vector base plane. These members were notched with additional support to prevent lateral movement. This lattice structure provided a solid base for the base plate of the sleeve, which was orientated in a custom direction to host the ply wood strips setout previously. The sleeves were designed with minimal custom parts for ease of assembly.

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|Project TUMBLEWEED 2019 C2P

Team

The start and end vectors for each of the network connections form the basis of the timber curvature. They are connected through their curvature with a bulge factor of 0.5. The curvature vector taken from half way along the curve is used to orientate the perpendicular frames extracted along the curve. These frames are then combined with the perpendicular frames, which are orientated using the relative vector of their hosting nodes. These frames host the 20x9mm rectangles, which are lofted to simulate the bending of the plywood. We recognise that this is a basic approximation, which could be further developed given more time.

SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

Karamba simulation of overall structural configuration The rationalised network is again divided into smaller segments, which are treated as beam members with the 20x9mm timber profile. The supporting members are locked to both the location and rotation in relation to their hosting surface connection plane. Live and dead loads are applied across the points.

We recognise that this simulation was very basic and could be further developed and refined as it treats each line segment as a beam and does not accurately represent the correct profile orientation. It also does not take into consideration the accurate cross section of the plywood strips, treating each segment as hollow box. The software is limited in this regard but does provide a promising indication for how and where the structure is likely to deform.

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|Project TUMBLEWEED 2019 C2P HoloLens: Exploring thr interaction between physical and digital prototyping

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER fig x. The Hololens uses augmented reality to fig x Mapping multiple points is quick ad accu- fig x Using the hololens to points map physical objects using physical hand ges- rate tures as the user interface

fig x The physical weave model was mapped into the digital space by using the hololens.

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

fig x. The hololens is able to map objects on any- fig 1. Using hand gesture to map points of the surface. weave

The Hololens is an augmented reality device that allows the user to interact with digital models in real physical space. The device opens up new possibilities for architects in the area of rapid prototyping and fabrication. The first experiment conducted was to use the hololens to explore a new work flow in mapping a physical weave into a digital space.

The weave was to be mapped was the result of an earlier test of large scale weaving pattern. The aim of the experiment was to determine how effective the hololens could be at quickly mapping a real world physical object.

The hololens proved to be effective. Quickly mapping the earlier experiment in digital space quickly and accurately. The hololens proved to be much more efficient in this task then traditional methods of measure.

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|Project TUMBLEWEED 2019 C2P

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER

fig x. View from the hololens. The position of the marker point is lined up with the physical point to be maped..

fig x. View form the Hololens. A grasshopper script then takes the mapped points and generates the string lines between the points.

fig x. As the process continues the boundary between thephysical and the digital is broken down.

fig x. The hololens is able to accurately map the points in space much more quickly then traditional hand measuring and survey techniques

fig x.The process is then repeated for each point in the weave.

fig x. The order the points are mapped must follow the same sequence of the physical weave.

fig x. View form the hololens hilst mapping the weave.

fig x. The mapped model was accurately mapped and the ability of the hololens to be used as mapping tool was proven

fig x. The next step was to reverse the process and construct a digital model in physical space using the augmented reality hololens.

fig x. A hand gesture is then used to map the point into grasshopper. Grasshopper then creates a ball at the points location so it can be visualised

fig x. Multiple points here then mapped

fig x. These points were then used as anchors for the catenary

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

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|Project TUMBLEWEED 2019 C2P Tumbleweed Iteration 1

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER fig x. Digital Diagram of Tumbleweed Iteration 1

fig x Digital Diagram of Tumbleweed Iteration 1

ig x. Gasshopper script used to generate Tumleweed iteration 1

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

After our initial experiments with the hololens were complete a more complex prototype was developed. The aim of this new prototype, which we named the tumbleweed was to push the new workflows developed with the hololens. In addition to creating a structure which would then be able to ct as a frame for the robotic weaving .

The structure was developed by using a grasshopper script. To create a minimal surface structure between 9 nodes.. 3 nodes on the floor, 3 nodes on the wall and 3 nodes on the ceiling. With structural members connecting the floor nodes to the ceiling nodes, wall nodes. Ceiling nodes to wall and floor nodes. Wall nodes to ceiling and floor nodes.

After the structure was generated in grasshopper, it was then constructed in the space using plywood strips. Using the hololens to locate the node points and position and bend the strips into position.

fig x Tumbleweed Iteration 1 as viewd from the hololens in real space

fig x.The building envelope from the digital model was lined upto the physical envelope using the hololens.

fig x. The prototype was then checked to ensure that there were no physical clashes with objects in the physical space.

fig x. A clash was found where a wall node point did not line up with the wall.

fig x. The required distance was measured so that the digital model could be adjusted precisely.

fig x. View fromhololens

figx. View from the hololens.

fig x. View of the prototype after moving the model.

fig x. After the digital model was placed in the space. The location of the node points were marked.

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|Project TUMBLEWEED 2019 C2P

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER

ig x. Where the length of the strip exceeded the length of the sheet of plywood. A splice was used. The splice was located at the centre of the member.

fig x. A quick prototype footing was developed. The idea was that the footing act like a cup to allow the members to sit in them. This allowed for any rotations or twisting.

fig x. The temporary footings where then screwed into the positions as markerd my the hololens.

fig x. the struture was then constructed using the hololens to locate and position the members.

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

fig x. From the digital model the required length of the strips were outputted. Each strip was carefully measured cut and then labelled.

fig x, Each member was named based on the node it was connected to. in this way it could be easily communicated to those in the team not wearing the hololens where the member had to go.

fig x. The hololens was able to show the team how nd the order in which the members crossed over each other.

fig x. This complex overlapping would have been incredible difficult to communicate using traditional architectural ommunications.

ig x. The hololens does have some limitations. Position of objects can appear to line up in certain views but actually do not. This is due issues around paralax errors and issues of perspective.

fig x. But more often then not the physical and digital can be made to correspond in their position precisely.

Tumbleweed Iteration Footings and Hook Design

The design of the first footing prototype allowed for a roation to occur between the spigot and the support

The result of the rotation snapped the footing

The first footing was a prototype made of 6mm ply. The idea behind the footing was to provide a spigot that the members could be ziptied too. The spigot was then connected to the ground through a base plate that could be fixed to the ground through the use of mechanical fixings or adhesives.

Exploded isometric view of first iteration of the base footings tested on the prototype constructed from 6mm lasercut plywood.

The script for the prototype tumbleweed was modified. So that the members rather then merging at the one node were organised. The members were organised to merge into a hexagonal prism. This became the hexagonal spigot in the footing. The geometry for each unique and individual node was then generated from the grasshopper script. The geometry was then organised and placed into lasercut templates for fabrication.

After the footing was fabricated it was assembled and tested by installing it into the existing tumble weed prototype. The result being that the footing failed. The reason behind the failure was that the footing by its design allowed for the spigot to rotate. The plywood was not strong enough to resist this rotation and subsequently failed. Snapping the ply at the base of the spigot.

A redesign of the footing was required to prevent the rotation.

Isometric view of assembled first iteration of the base footings.

fig x. Polypropylene strips prior fixed to the plywood members.

fig x. Polypropylene strips prior fixed to the plywood members.

fig x. Lasercut polypropylene strips prior to being fixed to the plywood members.

fig x. Polypropylene strips prior fixed to the plywood members.

fig x. Hooks added to the members were designed by modifying the existing weave hooks. Spacing them out at 200 mm and laser cutiing polypropylene. The hooks were then fixed to the members by using cable-ties.

Second and third (final) footing iterations The final footing design was derived from the failures of the first prototype. The second iteration did not rely on zip ties to bring the structures members to a point but instead used a circular node with six profiles cut out, where the members slot in and are secured in place.

This was achieved by modifying the script to allow for the members to petrude in a single straight direction for the length of the footing so as to reduce the outward forces against it. The revised geometry of the structure as well as the circular nodes significantly reduced the rotating forces which caused the initial prototype to fail. Furthermore, member sizes were increased and an extra two lateral braces were added to the bottom of the footing to account for these forces.

The third and final design is a slight variation of the second prototype with shortened member sizes for a more efficient and visually less imposing footing detail.

Exploded isometric view of second iteration of the base footings

Isometric view of assembled second iteration of the base footings

Isometric view of Final Structure

Installing the Final Structure

Using the HoloLens to assist with the installation

Installing the Final Structure

Carefully bending the timber into the nodes

1st Iteration of Weaving on Initial Structure

1st Iteration of Weaving on Initial Structure

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|Project TUMBLEWEED 2019 C2P

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda Weaving the Inital Structure

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|Project TUMBLEWEED 2019 C2P

Team SANTIAGO CATANZANO JOHN CULSHAW DAVID DA COSTA ENES MATHEW HUNTER

C2P TEACHING TEAM D Reinhardt, E Barata, R Watt, L Masuda

Weaving the Initial Struture

Mapping the Structure

Weaving Using the HoloLens

Weaving Using the HoloLens

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| Chapter 1 - Physical Form Finding

This chapter marks the beginning processes of the Pants project by a subgroup of 2018’s Code to Production class.

It mostly consists of numerous experimentations with one material, 12mm thick plywood cut down into strip at a specific dimension of (30mm). Constantly testing its abilities to twist, bend and compress in order to discover appropriate constructions that meet the requirements of the task.

The goal for this task was for us to creatively model a large scale jig structure out of plywood strips in compression, achieving a form that allows a pattern of strings to be weaved in tension over itself.

Bending

fig 1.1. soaking plywood strips

fig 1.2. bending plywood with circular template

The primary approach to working with the stacks of uniform plywood strips was to bend and contort them as much as possible with different experimental techniques.

What was discovered to be the most effective in softening this material is the method of soaking (fig 1.1). Which made the plywood the most malleable.

Occasional snapping still occurred due to the nature of the material, specifically at knot points along the strips.

fig 1.3. bending plywood with string tension

Form Experimentation The conical form (parabolic volcanoid) seen in fig 1.4 is the very first form we cre- ated with the bent pieces of plywood, consisting of three incrementally larger rings and four curved support columns that binds the entire structure together and allow- ing it to become free standing.

This model allowed us to test out the materials and experiment with different pres- sures of bending.

During its process we’ve discovered many failings of the plywood strips, many pieces have snapped and broken due to kinks and knots inherent to the material itself.

The next form we worked with (fig 1.5) resembles a tipi where we connects four curved strips at one single point.

fig 1.4. initial form created with bent material

fig 1.6. screwing in weaving hooks

fig 1.5. combining four strips with string

fig 1.7. applying a weave pattern

Joinery Details

Tulip Form

fig 1.8. support strip to ring joint

fig 1.9. weaving hook screw

fig 1.10. complex plywood joint

fig 1.11. post weave hook screw

fig 1.12. setting up ring forms

fig 1.14. concept sketches

fig 1.13. applying structure

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Setting Weave Sequences

|Chapter 2 - Manual Weave Pattern

fig 2.4. inside weave diagram

Inside Weaves

Following the creation of a timber framed form as the foundational jig, chapter 2 describes the process of discovering a weave pattern that maps onto the frame and wraps the structure almost like a skin or membrane.

Working specifically with builder ’s string, a strong and durable material with slight elasticity. Abundant and commonly used in construction, although highly prone to messy knotting if unmanaged.

The goal of this chapter was to weave a pattern than can work the elements of both tension and compression dynamically together in order to create some sort of form and structure of unity.

fig 2.3. weaving in the void space of the tulip structure

fig 2.5. exterior skin weave diagram

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|Chapter 2 - Manual Weave Pattern Application

fig 2.6. manual weaving 1

fig 2.7. manual weaving 2

Components

fig 2.9. weave diagram 1

fig 2.10. weave diagram 2

fig 2.11. weave diagram 3

fig 2.12. weave diagram 4

fig 2.8. manual weaving 3

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|Chapter 3 - HoloLens Mapping

fig 3.1. Cplane_Tracker

fig 3.2. Tracking QR Code and pinching action for activation

The Hololens can identity objects in the vicinity and it can map on its own. Although the resolution that it read the space is rather low for this application.

The software Fologram enables the user to connect HoloLens to the Rhinoceros.

Fologram uses CPlane_Tracker (fig 4) and assuming the tracker is securely fixed in one place, the workspace is aligned.

Chapter 3 moves away from the physical realm and embarks into the binary world or digital fabrication. Using the HoloLens, a next generation technology that allows a translation between the three dimension physical space and the vector modelling space of a computing software.

The task here is to use such technology in order to allow digital modelling capabilities of the exact same form that has been created with plywood strips and builder ’s string.

The process of digital mapping is to specify a point in physical space by the use of tracking QR Code. Fologram then reads that information in relation to the Cplane_Tracke r. It provides value in Grasshopper which then we can visually draw in Rhinoceros.

Many of this process can be pragmatically defined in Grasshopper so we can have almost direct conversation between the headset to the visual display.

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|Chapter 3 - HoloLens Mapping Translation The designated geometry for each point can be a square to simulate a CPlane for each point. This provides the digital model the accuracy of orientational surface qualities and it can be utilised to formulate acomplex design and adjustment.

fig 3.3. plotting node points of the structure

fig 3.4. plotting intersection point of the structure

The process of plotting a point with QR Code can be finicky. After the code is synchronised with the headset, a designated geometry will appear and retroactively track the centre of the QR code when the headset is looking at it. Next step is to place the QR code where point is required (fig 5) and to plot it, a pinching hand gesture is used. But at times HoloLens attempts to read the pinching but when the vicinity of the visor is busy, at times it find it difficult to locate the hand to register the command.

One way to remedy this problem is to have a stoic drape, paper etc.. behind the hand providing HoloLens clearer vision over the hand. Another option is to place the QR code on a desired location, then hide the QR code. Having nowhere else to track, the headset leaves the geometry in place and the user can simply move around it to find quieter background to plot it.

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|Chapter 3 - HoloLens Mapping Communication

fig 3.5. step 1 - initial posture of the pinch for the HoloLens to recognise the han d

fig 3.6. step 2 - gesture for the HoloLens to understand an activation command is initiated

fig 3.8. step 2 of holding the pinch is used as a limbo state and it is used to float around the menu

fig 3.7. step 3 - the release of the gesture finalising the activation command to register

fig 3.9. the step 3 of release allows the user to choose the desired icon to be activated

The ‘pinching ’ gesture can be divided in to 3 step process as illustrated on figure 8-10 where the HoloLens identifies the hand, stands by for command then activates.

This process can be stretched out for more delicate operations where menu that consists options and technical tools can be accessed.

The step 1 (fig 8) of gesture raises the attention of HoloLens. The step 2 (fig 11) pinching needs to be held for the controller to become a limbo stage where it allows the user to float around the graphical user interface with the white circular interface selector on the centre of the peripheral viso r. The step 3 (fig 12) upon release of the pinch, HoloLens selects the tool that was highlighted with the circular selecto r.

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|Chapter 3 - HoloLens Mapping

Navigation

fig 3.10. navigating the menu

fig 3.12. navigating to move tool

fig 3.11. navigating to adjustment tools

fig 3.13. making selection by releasing the pinch

The menus within the Fologram is categorised away like organised folders.

In this example, move tool is used to relocate the realised model in relation to the Cplane_Tracke r.

When step 2 holding of pinching is initiated, the menu pops up and four options are presented (fig 13). Each of these options contains multiple sub-options which unveils once selected (fig 14) and using the circular selector, user can navigate each folders in and out fluidly. After a choice is made by laying selector on the wanted icon, simply releasing the pinch will activate the option.

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| Chapter 4 - Digital Form Analogue and Digital

fig 4.1. analogue form

fig 4.2. digital form

An augmented reality headset, Microsoft HoloLens became the bridge between analogue and digital workspace. A software Fologram, Rhinoceros and its plug-in Grasshopper were used alongside the HoloLens to translate the existing body to the pragmatic digital system.

Fig 2-3 portrays the expression in two different medium at a glance where many of the physical obstacle of tensile and compressive forces can be translated in to the abstract form given that enough information is provided.

There still lies the problem of physical materials breaking, sagging and shifting due to ongoing addition of weaving. Despite the body is translated in to digital, it requires a close attention and maintenance.

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Overlapping Weave Solutions

fig 2.12. compressed overlap

fig 2.13. weave manoeuvre overlap

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|form and weave

| C2P

CODE TO PRO (DUCTION) ARCHIVE 2018 |SECTION 1 This section introduces the C2P robotic research elective and course content: learning objectives, methods, exercises, design challenge and structure. |SECTION 2 This section discusses applied industry research for a new workspace ceiling data structure; the ‘Systems Reef - Robotic Carbon Fibre Threading” (2017-18). This project developed 1:1 prototypes for a novel integrated ceiling system, produced onsite through robotic threading with lightweight and super-strong carbonfibre threads. Recently screened at RobArch18 Robots in Architecture, Art and Design conference, ECCR/ETH, Zurich (https://vimeo.com/288473467)

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| research with industry partner

SECTION 2 This section discusses applied industry research we did with BVN for a new workspace ceiling data structure; the ‘Systems Reef - Robotic Carbon Fibre Threading” (2017-18). This project developed 1:1 prototypes for a novel integrated ceiling system, produced onsite through robotic threading with lightweight and super-strong carbonfibre threads.

A short 3min documentation of the project was screened at the 2018 Robots in Architecture, Art and Design conference, at NCCR/ETH, Zurich watch the movie on: https://vimeo.com/288473467.

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| SECTION 1.3 USYD WEAVING AND CFRP CARBON FIBRE STUDIES |boundary frames |weaving sequences |rope vs CFRP |2D weave vs 3D weave

‘Micro-Acoustic Patterns’ (2015-2017)

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exercise A

2D WEAVE Manual weave rope Bespoke weaving, no frame EXERCISE: 1 use circular nailboard 2 set points (nail) and overlaps 3 weavee within pattern (A) and as connectors betweeen (B)

B

exercise 2.5 D WEAVE Manual weave rope Bespoke weaving frame from wire EXERCISE: 1 make 2.5D boundary frame 2 weave inside frame, securing node points

\analog weaving studies \preliminary model series \2D, 3D and interwoven \date: july 2017

exercise 2.5 D WEAVE Manual weave rope Bespoke weaving, lasercut EXERCISE: 1 make 2.5D boundary frame 2 weave inside frame, securing node points

\analog weaving studies \preliminary model series \2D, 3D and interwoven \date: july 2017

exercise \analog weaving studies \preliminary model series \2D, 3D and interwoven \date: july 2017

exercise

[From this ….

To this >]

exercise \design of boundary frame for 3D weaving

|design of boundary frame for 3D weaving |reference |Naum Gabo

Concept strategy for intersecting non-rigid plate geometries

|design of boundary frame for 3D weaving |reference |Naum Gabo

> Jigs can vary in matreial aspects

> Outer line and inner line of jigs don’t need to be the same/parallel (> design)

\exploration session \proto model series 4 \inside weaving \date: 17_0830

process description Models with set conditions in order to compare and contrast variations.

Number of teeth: 32 Fixed Diameter:350mm Distance between teeth: important to allow end effector to pass through material: thread Clear 4.5mm perspex jig with custom hooks Exploration: Weaving on the inside Problem: Hooks too sharp – cutting into skin and string Action Plan: Going larger with the hand models Re-designing Jigs and hooks

exercise 3D WEAVE Manual weave rope Bespoke weaving frame from perspex, assembled EXERCISE: 1 make 2D/3D shape catalogue 2 select object for fabrication 3 produce lasercut frame and assemble, then weave 4 do photo-doc plus movie from weaving 5 make diagram with weaving sequence

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| SECTION 1.4 USYD ROBOTIC WEAVING PROTOTYPES |EGG SHAPE | SYDFES/DDI SETUP | SIMULATED CEILING SETUP

‘Micro-Acoustic Patterns’ (2015-2017)

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\robotic weaving \proto model series 2 \eggshaped boundary \date: 17_0810

process description Models with set conditions in order to compare and contrast variations.

Number of teeth: 32 Fixed Diameter:350mm Distance between teeth: important to allow end effector to pass through material: thread Clear 4.5mm perspex jig with custom hooks Exploration: Weaving on the inside Problem: Hooks too sharp – cutting into skin and string Action Plan: Going larger with the hand models Re-designing Jigs and hooks

process description material: thread endeffector problem of deposition (knots) and tension in thread 3D deposition within 2 planes

JIG R1 ROBOT 2D /3D weave [messy] (left) Achim Menges (2018), Material Performance: Fibrous Tectonics and Architectural Morphology, Harvard GSD (right) Robolab USYD 2017-18

PROTO1 |weaving in circle

PROTO1 |weaving in circle

PROTO2 |weaving in segments

PROTO3 |SYDNEY DESIGN FESTIVAL |multiple layover with colored rope, fan based

PROTO4 |SYDNEY DESIGN FESTIVAL |flexible form that can be twisted), as a result of weaving without boundary frame (dislocatable hooks)

PROTO4 |SYDNEY DESIGN FESTIVAL |multiple layover with colored rope, fan based

PROTO5 |DDI HANOVER FOR REMOTE PRODUCTION |harvestable and deformable structure

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| SECTION 1.5 USYD ROBOTIC WEAVING PROTOTYPES |EGG SHAPE | SYDFES/DDI SETUP | SIMULATED CEILING SETUP

\1 : 1 \Carbon Fibre Testing \weave variations \date: 17_0831

process description: CNC milled jigs which are ¼ of crabpot at 1 : 1 scale 17.5 mm ply Approx 700mm diameter for bottom ring and 850mm for top ring Objectives: 1. Jig / Weaving process at 1:1 scale 2. Exploring two fixing methods Screws vs laser cut hook panels 3. Carbon Fibre & Epoxy bath testing Lessons Learnt: *Screw on fixing: wrapping is better with no sharp corners but takes 1-2 hours to assemble *Laser fixing: sharp corners cuts into carbon fibre but 10 minutes to assemble. Hooks need resolution *CNC mill jig & Laser fixing combination is best for quick form work assembly *Resin bathing technique needs more development to avoid carbon fibre fraying. Ways to touch the carbon fibre as little as possible *Materials research into other string types such as wire and natural materials like cotton, hemp and possibly setting in resin *Resin is manageable to work with *Scale is manageable. Not too heavy at ¼ of circle

exercise 3D WEAVE Testing structural perfomance of resin cured carbon fibre (this is entirely based on resin) EXERCISE: 1 make 3D 2 test to destruction

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MODIFIED COMMERCIALLY AVAILABLE 2 AXIS FILAMENT WINDING MACHINE - XWINDER Figure 1: Resin Bath and Squeegee System Figure 2: Carbon fiber creel – 2kg capacity Figure 3: Counterweighted tensioner

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| SYDNEY DESIGN FESTIVAL

High-Strung: Robotic Design Discover where designers and robots meet. With the rising popularity of digital fabrication tools such as 3D printers, laser cutters, CNC routers and six-axis robots, new design freedom is emerging. This catalyst technology enables designers to rethink traditional craft practices, execute an unlimited variety of non-repetitive tasks, trial material applications for mass-customisation and bespoke design solutions and democratise design.

View a showcase of design research into ‘excitable matter’, produced by students and researchers of the Sydney School of Architecture, Design and Planning.

The research explores craft and material knowledge rethought with cutting edge technology for the 21st century. Exhibited prototypes and models have been fabricated using industrial robot arms and Microsoft Hololens mixed reality headsets, proposing an exciting future for the design and architecture profession.

C2P Team: D Reinhardt, E Barata, R Watt, L Masuda Students: Zekun Quin (Jake Ivan), Tingyu Zhang, David Da Costa, KEUN YONG KIM (GREG, Shengyuan Yang, Luqiu Zheng, Tingyu Zhang, Matthew Hunter. Santiago Catanzano John Culshaw .

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