ceARamics - RC9 -Bartlett School of Architecture 2019-20

BARTLETT SCHOOL OF ARCHITECTURE GRADUATE ARCHITECTURAL DESIGN RC 9 2019-2020

BARTLETT SCHOOL OF ARCHITECTURE GRADUATE ARCHITECTURAL DESIGN RC 9 2019-2020 Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

CONTENTS 1.INTRODUCTION

2.MATERIAL STUDIES

Project Synopsis

8-9

Diagram of ceARamics process

10-11

Case Studies Sub-C

Structural slip

Inspirational content

Types of clay Terracotta

Stoneware slip clay

Stoneware slip clay and paper pulp

12-13

Density and pattern explorations

14-15 16-17

28-29 30-31 32-35 36-37

Overview Clay

Weaving Geometry studies Concept design

18-19 20-21 22-23 24-25

3.CLAY ON ROPE APPLICATIONS Method 01

2D Frame with nails Physical models

42-43 44-47

Core node

Removing the metal sticks Physical model

Method 02

3d Frame with nails

50-51

Physical models

52-57

Digital exploration

Method 05

Method 04

58-59

Method 03

3d Frame

62-63

Physical model

64-65

Design studies

Components Walls

Column

Improving the edges

68-69 70-71 72-73

Edge nodes AR process

Physical model

Method comparisons

74-75 76-77 78-79 80-81

Design studies

Component 1 Component 2

Pattern exploration on walls and columns Pattern evaluation

4.INITIAL DESIGN STUDIES Component evaluation

118-119

Wall explorations

142-147

Catalogues of components

120-135

Column explorations

148-153

Density Diagrams

136-139

Architectural elements

Structural Analysis

140-141

Furniture Elements 3D Structure

154-155 156-159

84-85 86-89 90-91 92-93 94-99

100-105 106-113 114-115

5.DIGITAL DEVELOPMENTS

6.DIGITAL CRAFTSMANSHIP

Design Studies

Computer Vision

Exploring layers and densities

162-163

Wall Explorations

164-165

Physical models - Porosity & Sizes Porosity Diagrams

Structural Application

Architectural Proposal

166-167 168-169 170-171 172-175

Generative Process (I)

Initial Algorithmic Studies Type V & T

176-177

Catalogue of Aggregations

178-179

Facade Development

180-185

7.ceARamics APPLICATION

Density Control Generating Parts

238-239 240-244 242-243 254-245

Weaving Styles & Glazing

246-247

Cearamics-Make Equipment for assembly

Component assembly Weaving process

Construction site

Style Recognition Diagram

Method 01-Tracking

Method 02-Drawing

190-191 192-193 194-197

Weaving Style Catalogues

198-233

Comparison of styles on Aggregations

234-235

Generative Process (II)

Replacing with clay

Outline

Weaving Style Recognition

8.ALGORITHMIC IMPLEMENTATION

Cearamics-Design Outline

188-189

248-249 250-251 252-255 256-257 258-261

Type 01: L-Combination research

Type 02: S-Combination research Type 01:L & Type 02:S

Type 01:L, Type 02:S, Type 03: V, Type 04:T Results

264-267 268-269 270-271 272-273 274-277

Facades

Option 1

Option 2 Option 3

280-285 288-289 292-297

1.INTRODUCTION PROJECT SYNOPSIS DIAGRAM OF CEARAMICS PROCESS CASE STUDIES Sub-c

Structural slip Inspirational content OVERVIEW Clay

Weaving Geometry studies

INTRODUCTION Project Synopsis

CeARamics questions traditional ceramic making methods (i.e pinching, coil, slab, wheel), proposing a system of sticks and weaved rope that act as a substructure to which clay is applied. This allows for mass customization of components and the creation of intricate geometries of varying densities, which are typically limited by traditional ceramic forming processes and the material itself.

The system argues for an AR assisted crafting process which is not limited to only high skilled workers. An augmented reality app is developed, which is divided into two parts. Firstly, the design part of the app is to be used specifically by designers and secondly, the make part of the app is dedicated to fabrication and can be used by anyone. In the design section of the app the designer/architect can import a volume, control specific data inputs, generate clay parts, choose among weaving styles and control the overall density. When the process is finished, a request for fabricating one’s design can be made. This takes us to the make section of the app, in which users are able to implement the clay components by following simple holographic instructions. The whole idea of the ceARamics app is based on distributed manufacturing, by enabling users with only the use of their phones and 3d printed nodes (which are delivered to them) to fabricate without the use of expensive gadgets. The process is multidisciplinary and expands the production chain allowing for a fully democratized manufacturing process which is enabled through AR technology.

Our main proposal for the application of this system in architecture are ceramic building facades. Although ceramic facades exist today and their benefits are well known (i.e weather resistancy, low-maintenance, natural recycable material) they are limiting in terms of form and volume. Therefore, we introduce a system that can produce volumes and elevations defined by their complexity and plasticity, which is possible due to the innovative method of ceramic making that is proposed by this project.

8

Traditional ceramic making

ceARamics physical models

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION

Diagram of ceARamics process

10

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION Case studies/Sub-C

In this project, the students used an internal 3D printed structure which they then dipped in clay to stregthen and solidify it. Their geometries were based on lattice systems which gave them many opportunities in terms of density and porosity. These specific features of the internal material created really interesting effects when the clay attached to it. From this project, we are inspired by the idea of having an internal structure that according to it’s design and form, influences the clay’s final shape.

12

THE BARTLETT SCHOOL OF ARCHITECTURE RC1 2018-2019 Project by: Xinglu He, Wenxuan Lin, Aleksanda Jelisejeva, Jiakang Li

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION

Case studies/Structural Slip In this project, the students created a system of elements that could be combined together in different ways to create a variation of components.

These components could afterwards be combined to create structures of different types such as walls, pavilions or building facades. This projects inspires us in terms of assembly and structure development.

14

THE BARTLETT SCHOOL OF ARCHITECTURE RC5/6 2017-2018 Project by: Vittoria Fusco, Banni Liang, Dan Liang, Mingyu Wei

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION

Case studies/Inspirational content In the following examples rope was used as a structural element that creates form and texture. This inspired us and made us think that it could possibly be used as an internal-base material for our project. We have also added some examples that display porosity and organity in their shape, which is an effect we aim for clay to have after being applied to our structures.

Lastly, in the bottom left corner we see an example of component population that creates an interesting form of structure, which is something that we would also like to achieve with our elements.

Screenplay, https://www.archdaily.com/163278/designbymany-community-award-winners-sasadjak-milica-vujovic/

Polyomino II, https://www.plethora-project.com/polyomino-ii/

16

https://thefunambulist.net/arts/fine-arts-abhominal-by-jason-hopkins

3D CNC milled maple wood

Thames, http://www.jordiraga.com/indoor/vc-

Interwoven Vessel, https://www.elizabethshriv-

zzxvnn0i14pnasjt0hwfrbwddc86

erceramics.com/

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION Overview/Clay

In these photos it is illustrated how clay can be used to attach to our structures either by being poured on top of them, either by spraying or by dipping them inside. What was really important throughout this project and a basic factor for our desicions was the fact that clay should be fired in really high temperatures (approximately 1200 ° C) . This would naturally affect our internal structure in terms of how it responds to high temperatures but also what happens to it when the clay-due to the high temperature - will shrink. Therefore, it should definitely be something that doesn’t expland, ideally shrinks together with the clay or evaporates. That is the main reason why we started leaning more towards the idea of using rope and decided to look further into it for our project.

Dipping in clay

18

Placing elements in the kiln

Pouring slip clay

https://www.claymakestudio.com.au/slip-casting-for-beginners-march.html

Spraying our elements

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION Overview/Weaving

In the beginning of term 1 we experimented with the process of weaving mostly in terms of how to create and manipulate forms and densities. For this project, in order to use rope as our structure we had to be very precise about factors such as material, thickness, heat durability and the emissions it might release when fired. Considering that clay is going to surround our structure meaning that it is then going to be fired, we knew that the internal material should be natural so as to not exhaust any toxic fumes under high temperatures. Thus, the types of rope we worked with were 100% natural jute, hemp and sisal which come in a variety of thicknesses and correspond to the size of the object we are working with.

http://eunhyekang.com/page-mixed -media-04, Work of Eun Hye Kang

Modern Abstract Architectural Wire Iron Sculpture Manner of Roy Gussow

20

Natural hemp rope-different thicknesses

Weaving Architecture - Biennale Venecia

https://llucmiralles.com/filter/venice/Weaving-Architecture-Biennale-Venecia

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION

Overview/Geometry studies In our design studies we started experimenting with lattice systems made of polyhedrons. The idea is that both single polyhedrons and combinations of them could work as components that can be connected together to create systems like the ones in the examples shown in the photos below, which would allow us to develop different types of architectural elements (walls, slabs, columns, staircases etc.). The main structure of our components would be the edges of the polyhedrons which would then be weaved in between with rope and sprayed afterwards to become solidified.

Best Rapidly-Deployable Shade Structure in the DesignByMany competition, https://www.archdaily.com/163278/designbymany-community-awardwinners-sasa-djak-milica-vujovic/

https://www.pinterest.pt/pin/425590233540834183/

22

Experimental aircraft, https://mathcraft.wonderhowto.com/news/alexandergraham-bells-tetrahedral-obsession-0132433/

https://mathcraft.wonderhowto.com/news/alexander-graham-bells-tetrahedral-obsession-0132433/

https://mathcraft.wonderhowto.com/news/alexander-graham-bells-tetrahedral-obsession-0132433/

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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INTRODUCTION

Overview/Concept Design The main concept for our implementation-design strategy would be to explore ways to create structures made of rope, afterwards cover them in clay and in the end fire them. Except of the importance of finding an efficient way to make rope “self supported�, we would also have to work with it in a way that could predict the clay outcome as much as possible. Therefore, we started exploring the different effects of clay on a variety of densities and pattens. This process was crucial for our future design studies.

+

Natural Rope

24

Clay

Creating a form with the assigned rope

Spraying clay

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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2.MATERIAL STUDIES TYPES OF CLAY

Terracotta clay

Stoneware slip clay Stoneware slip clay and paper pulp PATTERN AND DENSISTY EXPLORATION Density and pattern explorations

MATERIAL STUDIES Types of Clay/Terracotta

When we began experimenting with materials in the beginning of our project, we tried polymorph as the skeleton for our internal structure, because it was faster than weaving rope. Our main goal during that period was to see what would happen to the clay as it dried, according to its type. We first tried terracotta clay with different proportions of water, which as can be seen in the examples below completely cracked. This lead us to move on to stoneware slip clay.

Clay quantity

Water quantity

Experiment 1

2 + 1/2 cups

Experiment 2

2 cups

Experiment 3 1 + 1/2 cups

Experiment 4

1 cup

Experiment 5

1/2 cup

28

Semi-dry state

Completely dry

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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MATERIAL STUDIES

Types of Clay/Stoneware Slip Clay After using terracotta clay we moved on to Stoneware slip clay which is by nature more liquid and doesn’t need the addition of water. We dipped our polymorph pieces several times in the clay but when it dried it also produced cracks - even though fewer than before. This made us believe that this type of clay held possibilities for further explorations.

2D - Basic pattern elements

Experiment 1

Experiment 2

Experiment 3

30

Semi-dry state

Completely dry

3D - Organic elements

Semi-dry state

Completely dry

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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MATERIAL STUDIES

Types of Clay/Stoneware Slip Clay and paper pulp As previously mentioned, for this last material exploration we decided to keep the stoneware slip clay as our base material but added paper pulp in the hope of making it more unified in order to produce less cracks. The ratio of clay to paper pulp is 3:1. The next page displays the process of experimenting with the specific material and its attributes and the results were all successful. The natural fibres of paper helped keep everything together and solidified.

Thin paper towel

32

Blending it with water

Draining the water

Draining the water

Adding Stoneware slip clay

Mixing paper with clay

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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MATERIAL STUDIES

Types of Clay/Stoneware Slip Clay and paper pulp Looking at the “completely dry� results in this page it can be seen that the clay while drying produced no cracks. In the physical models displayed further on in the presentation we proceeded to use this method successfully.

Dipped once

Experiment 1

Experiment 2

Experiment 3

34

Dipped 8 times

Completely dry

2D basic pattern elements

Dipped once

Dipped 8 times

Completely dry

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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MATERIAL STUDIES

Density and pattern explorations Clay spreads differently according to the distances between the lines of the pattern. When the pattern is more dense the result is almost solid as the layers of clay icrease. Also, in more dense patterns it is easier for the clay to attach to the geometry even with less layers of clay applied. On the other hand, when the pattern is more sparse we observed that there is usually a need for applying thicker layers of clay both for attachment and also in order to make the piece strong and rigid.

High Density

Low Density

Mixed Density

36

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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3.CLAY ON ROPE APPLICATIONS METHOD 01

2D Frame with nails Physical models

METHOD 02 3D Frame with nails Physical models Digital exploration METHOD 03 3D Frame METHOD 04 Core node Physical model Design studies METHOD 05 Edge nodes Physical model Design studies

METHOD 01

2D FRAME WITH NAILS

CLAY ON ROPE APPLICATIONS Method 01/ 2D Frame with nails

The first method we tried for stabilising the rope in a certain form was to create a two dimensional wooden frame with nails on which we could weave on. After spraying the clay on it we waited until it was almost dry to remove it from its frame. The reason for that was to avoid cracks while the clay dried. As previously mentioned, when clay dries it shrinks. Therefore, the rope which was tense because of the nails naturally wouldn’t shrink with the clay so we had to cut it away beforehand.

Creating a wooden frame

42

Adjusting the nails in the wooden frame

Moving the rope throughout the frame

Developing a certain geometry

Spraying the Clay on the rope

Removing the clay out after it is 80% dry to avoid cracks

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 01/Physical Models

Creating a wooden frame and then applying clay on different densities of multiple grids and geometriers to explore the clay formation on different forms and patterns.

The aim of this process is to help and guide us undertand the properties of clay in terms of density and porosity.

44

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 01/Physical Models

46

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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METHOD 02

3D FRAME WITH NAILS

CLAY ON ROPE APPLICATIONS Method 02/3D Frame with nails

In this second attempt we kept the same logic as previously but wanted to extrude our geometries in the third dimension as well. Therefore, we applied taller nails to our frames so that we could start weaving on the z axis. The issue we faced with this process was the removal of the clay component before it was dry. The thickness of our geometry made it hard to pull out, so we had to cut it at the edges, which caused some deformation.

Creating a wooden frame

50

Adjusting the screws in the wooden frame

Moving the rope throughout the frame

Developing a certain geometry

Spraying the Clay on the rope

Removing the clay out after its 80% dry to avoid cracks

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 02/Physical Models Process

52

Result - glazed

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

|53

CLAY ON ROPE APPLICATIONS Method 02/Physical Models Process

54

Result - glazed

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 02/Physical Models

These pages illustrate a first attempt (which we will also see later on) to resolve the problem previously mentioned about having to cut the piece from its frame in order to remove it. We decided to wrap rope around our nails so that the clay wouldn’t penetrate and reach the metal. This allowed us to pull the piece away altogether from the frame, leaving the nails behind.

Process

56

Final piece

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 02/Digital Exploration

By studying the previous physical models we were very interested in the effect the layers of rope created when clay was applied. The pieces displayed debth and porosity at the same time. In our first attempt of digital exploration we tried to recreate this layering of clay with each layer showing a different density and thickness.

Component population 01

Rope Movement

Applying Clay

Populating the Component

Glazing the component

Component population 01

58

Rope Movement/creating interlocking pieces

Applying clay

Glazing the component

Component population 02

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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METHOD 03

3-DIMENSIONAL FRAME

CLAY ON ROPE APPLICATIONS Method 03/ 3D Frame

With this third method we create an exterior three dimensional frame that supports the interior structure made of rope. All the connecting parts between the exterior frame and the interior structure are made of rope, therefore we don’t face the same problem as before with removing the element when it’s dry. The downside to the process was that it was extremely time consuming.

Creating a 3D wooden frame

62

Creating the bases of our geometry

Creating the main outline of our geometry

Weaving rope around the outline of the shape

Spraying clay on the rope

Removing the clay out after it’s 80% dry to avoid cracks

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 03/Physical Models

Proc ess

64

Result - glazed

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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METHOD 04

CORE NODE

CLAY ON ROPE APPLICATIONS Method 04/Core node

In order to give three - dimensionality to our pieces a center node was created in which metal sticks are attached. After making the central connection, rope is tied across the ends of the sticks to create the outline-edges of a polyhedron. Finally, we weave around the geometry to develop the final form of our component which is afterwards ready to be sprayed.

Taking metal sticks

Wrapping them with natural rope

The rope will be at a steady point and wrap around the sticks with the help of the movement of the robot hand

68

Adjusting them in a certain geometry

Taking out the piece from the robot

Creating a customized node

Applying clay on the Rope

Rotating the piece using the robot hand

Removing the clay out from the created frame

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 04/Removing the metal sticks

As mentioned before, in order for our piece to be able to dry properly we had to find a way to remove the rigid metal sticks before the clay dried completely and shrank. In this method of developing our components, the metal sticks meet at the center node but at their other end they are exposed. Therefore, this allows us to pull them out when the clay is almost dry. In the photos below it is shown how we experimented individually with the sticks to make sure that the process works.

Metal stick wrapped with natural rope

Applying clay on the wrapped rope

Waiting for the clay to dry and pulling out the stick

70

Pulling the metal stick away from the dry clay

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

|71

CLAY ON ROPE APPLICATIONS Method 04/Physical Model

Process

72

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 04/Design studies/Components

Creating a component using 6 sticks

Clay densities

component 1

component 2

Creating a component using 8 sticks

component 3

74

Clay densities

Component combinations

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 04/Design Studies/Walls

For our first component exploration we experimented with a basic grid weaving system of three different densities. In the right page we started exploring the concept of continuous and directional patterns throughout our design studies (walls, columns).

Low Density

Medium Density

High Density

76

Directional patterns patterns Directional

Continuous Continuous patterns patterns

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Tought by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 04/Design Studies/Column

We continue with the concept of a continuous pattern across our aggregations which is displayed in this column. This is a first attempt to combine densities within an element. We can see that the core of the column is almost solid, whereas the outline of it is more sparse.

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Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Tought by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 04/Improving the edges

As can be seen from the physical model that was created for this method, as it dried, the edges became curved. The reason for that was that they were made out of rope and therefore weren’t stiff enough to endure the clay shrinkage. Also, when applying several layers of clay it adds up to the total weight of the structure and since the edges were thin they eventually gave in to gravity. Even though the component as a piece was successful we would have to resolve this issue in the future, because having curved edges can definitely not facilitate a smooth assembly of components.

Component skeleton with rope edges

80

Shape of the component before applying clay

Edges after clay application

Physical model - Final result

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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METHOD 05

EDGE NODES

CLAY ON ROPE APPLICATIONS Method 05/Edge Nodes

In order to overcome the problem of the curved edges that the previous process entailed, we had to find a way to place the rigid metal sticks on the edges instead of rope. For that reason, we created a new type of nodes that are placed on the corners of our polyhedrons and hold the sticks in place.

These nodes are open from both sides, making it possible to pull away the sticks when the clay is dry. The inside of our geometry is now hollow, which allows us in addition to the exterior weaved layers to add layers of weaving on the inside as well.

Metal sticks

84

Wrapping them with natural rope

Using AR to assemble the component

Adjusting the sticks in a 3d geometry

Stabilising it with customized nodes

Applying clay on the rope

Removing the sticks and the nodes

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 05/AR process

With the help of AR we want the user to be able to assemble the component fast, even if he hasn’t done the process before. Therefore, through the application the user will be able to see the nodes in the correct position in space and will then be guided as to how to place accurately the sticks that connect everything together.

Positioning the nodes in space

Placing the sticks in the correct order

86

Assembly complete

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 05/AR process

After having assembled the component with the nodes and sticks it is time to start weaving. With the creation of zones the user is guided within wich areas to weave, what density and in which directon.

Zone 1

Creating a centerpiece within the component for strength

88

Exterior zones with directionality

Almost complete-each face has a different weaving direction

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS Method 05/Physical Model

Process

90

Final result

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS

Method 05/Physical Model/Method Comparisons By comparing the two models, the difference of the edges is obvious. Having components with flat-straight edges is vital for the process of connecting-stacking our components to produce larger aggregations.

Method 04 - Curved edges

92

Method 05 - Straight Edges

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

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CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 1 Pattern Catalogues For each component of the previous digital studies we created catalogues of different patterns and densities applied to them. The patterns we experimented with were grid, parallel, fan and a mix of the above.

Parallel Pattern

Grid Pattern

Fan Pattern

94

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

|95

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 1 Pattern Catalogues - Removing faces In this catalogue we kept the frame of the component but removed some of the faces to create debth and layering of weaving within the piece.

Parallel Pattern

Grid Pattern

Fan Pattern

Mixed Pattern

96

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

|97

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 1 Pattern Catalogues - Removing edges In this catalogue we removed both faces and edges from the components in an attempt to change their geometry and give them a different form.

1 Edge

2 Edges

3 Edges

98

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

|99

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 2 Pattern Catalogues

Parallel Pattern

Grid Pattern

Fan Pattern

Mixed Pattern

100

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |101

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 2 Pattern Catalogues - Removing faces

Parallel Pattern

Fan Pattern

Mixed Pattern

102

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |103

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Component 2 Pattern Catalogues - Removing edges

1 Edge

2 Edges

104

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |105

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Pattern exploration on walls and columns In the walls and columns below we started mixing different patterns form the components illustrated in the previous catalogues. The goal was to create areas of different design language and density within the elements.

106

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |107

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Pattern exploration on walls and columns Wall Diagram and model high density selection medium density selection low density selection

108

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |109

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Pattern exploration on walls and columns Column Diagrams high density selection medium density selection low density selection

combination 01

110

combination 02

combination 03

combination 04

combination 05

combination 06

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |111

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Pattern exploration on walls and columns Column explorations

112

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |113

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS

Method 05/Design Studies/Pattern Evaluation From our previous design studies where we combined different types of component patterns and densities on walls and columns we concluded that the result didn’t display the homogeneity we wanted. Our designs lacked cohesion and consistency. Therefore, we had to make a choice regarding the type of pattern we were going to move forward with.

Pattern

Parallel

Fan

Grid

114

Component density

Combination x3

Combination x1

Result: Clear pattern

Result: Big gaps

Result: Discontinuity Result: Unconsistent

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |115

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

4.INITIAL DESIGN STUDIES COMPONENT EVALUATION CATALOGUES OF COMPONENTS DENSITY DIAGRAMS STRUCTURAL ANALYSIS WALL EXPLORATIONS COLUMN EXPLORATIONS ARCHITECTURAL ELEMENTS Furniture Elements 3D Structure

INITIAL DESIGN STUDIES Component Evaluation

The components we first experimented with could only be combined by two of their faces on the x and z axis. We therefore decided to move on to a new set of components (tetrahedron and pentahedron) which provide many more possibilities for combinations that are possible in all 3 axes and can be attached by all of their faces.

Components

Old

New

118

Combination directions

Faces that can be combined

X axis

Z axis

Y axis X axis

Z axis

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |119

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

Tetrahedrons and pentahedrons are used as cells and are combined with each other to create different types of components. In the sections on the right side of the page we can see the way initial pattern distances (rope) change after applying clay.

Pentahedron

Pentahedron x2 + platonic tetrahedron

Component

Pentahedron x3 + platonic tetrahedron

Pentahedron x3 + platonic tetrahedron x2

Component

120

Solid component

Outline of component

Low density

Section 1

Medium density

Section 2

High density

Section 3

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |121

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

In the next pages, catalogues of components of four different densities are displayed. These components are the result of various connections of the basic tetrahedron and pentahedron. The pattern selected for these catalogues was weaving in parallel.

Outline

Solid

Clay Outline

Pattern

Low Density

MediumDensity

High Density

122

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |123

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

Pentahedron + platonic tetrahedron

Component

Pentahedron + platonic tetrahedron x2

Component

124

R

Solid component

Outline of component

Low density

Section 1

Medium density

Section 2

High density

Section 3

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |125

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

Outline

Solid

Clay Outline

Low Pattern Density

Clay Application

126

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |127

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

Solid

Meduim Pattern Density

Clay Application

High Pattern Density

Clay Application

128

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |129

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components Removing edges

Pentahedron + platonic tetrahedron

R

Removing first two corners R

Removing third corner

Component

130

Final component

Solid component

Outline of component

Low density

Section 1

Medium density

Section 2

High density

Section 3

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |131

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

In the following two catalogues the parallel weaving pattern was maintained, but the components differ from the ones previously displayed because as can be seen in the diagram above, we removed some of their edges.

Clay Outline

Low Pattern Density

Meduim Pattern Density

High Pattern Density

132

Clay Outline

Low Pattern Density

Meduim Pattern Density

High Pattern Density

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |133

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Catalogues of Components

Clay Outline

Low Pattern Density

Meduim Pattern Density

High Pattern Density

134

Clay Outline

Low Pattern Density

Meduim Pattern Density

High Pattern Density

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |135

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES

Design Studies/Density Diagrams Translating geometries into mesh points. Use of curve attractors to create density variations.

Applying these density formatons on wall and column elevations.

Wall

136

Column

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |137

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS Density Diagrams

high density layer medium 01 density layer medium 02 density layer

Layering Transforming density variations into layers of 4 different densities on walls and columns in order to give debth and rigidness to our structures.

low density layer

Stage 01

Test 01

Test 02

Test 03

138

Stage 02

Stage 03

Stage 01

high density layer medium 01 density layer medium 02 density layer

Stage 02

Stage 03

low density layer

Test 01

Test 02

Test 03

Test 04

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |139

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CLAY ON ROPE APPLICATIONS Structural Analysis

In this analysis we used one of our wall studies to see where the stronger-stiffer parts of it should be. We then replaced the density points with our components-voxels so as to determine where the most solid ones that can carry more weight should be located. In the areas where there is less stress applied we place our less solid-sparse components.

Translating geometry into mesh points.

Wall

Creating voxels of 3 different scales

140

Density formation on the wall

Strength analysis Load

Support Higher load

Component density

Less load

Component selection

Solid - dense components Medium density components Sparse components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |141

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Wall Explorations

The following design studies are based on the previous analysis and density diagrams. In the diagram illustrated below we can see how the components from the previous catalogue correspond to the wall as well as how the density changes from front to back.

Solid components - Size: A

How they correspond on the wall

High density components

Medium density components

Low density components

Solid components

How they correspond on the wall High density components

Low density components Size: 2xA

142

2.80m

0.20

0.25

0.175 2.25 m

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |143

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Wall Explorations

144

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |145

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Wall Explorations

146

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |147

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Column Explorations

The column diagram on the right illustrates how the components are placed before applying clay. For the columns we mainly used the components without edges from the previous catalogues. Next to the column diagram we can see the final result after being rendered.

Components with removed edges

Solid components

How they correspond on the column

High density components

Medium density components

Low density components

148

Shape on column

3.00 m

0.20m 0.60m

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |149

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Column Exploration

Architectural application on columns

150

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |151

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES Column Exploration

Architectural application on columns

152

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |153

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES

Architectural Elements/Furniture Elements This example illustrates a seating element (bench) and a small table, that work together as a system.

3.50

2.80 m

Seating area = 1.60m

Seating area = 2.00 m

a

Seating element - plan

Elevation a

Elevation b

154

b

Perspective view of the bench

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |155

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

INITIAL DESIGN STUDIES

Architectural Elements/3D Structure The structural element below includes a combination of a staircase, two slabs and two columns that are made out of our components. A solid concrete slab was also integrated to the structure so as to explore the potential of blending our material with others. The specific design is a an attempt to combine architectural elements in order to explore the potential that our components hold in terms of architectural design and implementation.

Top view

156

Slab 1

Staircase

Columns

Exploded ISO view

Slab 2

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |157

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

158

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |159

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

5.DIGITAL DEVELOPMENTS DESIGN STUDIES

Exploring layers and directions

Wall explorations Physical Models-Porosity and Sizes Porosity diagrams STRUCTURAL APPLICATION ARCHITECTURAL PROPOSAL GENERATIVE PROCESS (I) Initial algorithmic studies - Type V & T Catalogue of Aggregations Facade Development

DIGITAL DEVELOPMENTS

Design Studies/Exploring Layers and Directions Taking advantage of the 60 °angle of our components we decided to add directionality to our studies and create less layers in which the pattern would be obvious from both sides of the wall. The goal was firstly to take our design studies one step further but also give them more stability by spreading the forces throughout the geometry instead of having them only in the front.

Pattern Side

Structure Side

Front

Back

Force Analysis Facade Pattern: One side

Former Wall

Number of Layers: 5 162

Pattern Side

Pattern Side

Front

Back

Force Analysis Facade Pattern: Both sides

Element rotation 60 ° : Intensify Pattern New Wall

Number of Layers: 3 Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |163

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS Design Studies/ Wall explorations

In the images below we can see walls with this added directionality, in which the four component densities that were displayed in our catalogues are spread out throughout them to create interesting patterns.

Maximum number of layers used: 3.

164

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |165

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS

Design Studies/Physical Models-Porosity and Sizes In order to study the porosity of the geometries we were producing digitally, we created the following physical models. Through these models, we studied which would be the appropriate size for our components as well as the minumum and maximum distances between strands of rope whilst weaving. In the largest component, where the ropes were more sparce, we noticed that the clay had difficulty attaching and dripped off the model.

166

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |167

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS Design Studies/Porosity diagrams

The diagrams below illustrate walls of different porosity according to the type of Level space. For public spaces, components of lower density are used, Porosity Highdensity components are used. whereas in private spaces only higher

Meduim

100 %

75 %

Public

75 %

Low

Semi--ublic

25 %

10 %

Private

Low Porosity

25 %

Porosity Level

High

100 %

75 %

Meduim

Medium Porosity

75 %

Porosity Level

Semi--ublic

Public

Low

10 %

Private

25 %

High

168

75 %

Public

25 %

Meduim

100 %

High Porosity

75 %

75 %

Semi--ublic

25 %

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |169

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS Structural Application

The structural system for developing a facade is based on the idea of panels that can be adjusted to the building. These panels are fabricated on site and they contain a frame of metallic rods that work as mullions if needed.

The components are attached to the frame that can be layered twice from each side according to the thickness of the facade. Maximum number of layers: 4.

Metal Planks 2nd Layer Clay Components 2nd Layer Frame

170

1st Layer Clay Components

1st Layer Frame

Building Structure

Isometric

Section

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |171

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS Architectural Proposal

Side View

172

Iso View

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |173

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS Architectural Proposal

Perspective View

174

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |175

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS

Generative Process (I) /Initial algorithmic studies - Type V & T For the initial exploration of the generative process we used the basic tetrahedron and pentahedron. The specific components with the rules they are given can generate within a field of any type of geometry and in any direction.

02

03

02 05 04

01

04

03

±0 Type V

04

+

Densities - Type T

Densities - Type V

Type T

02 of V + 01/02/03/04 of T 03 of V + 01/02/03/04 of T

01

04 01

04 of V + 01/02/03/04 of T 05 of V + 01/02/03/04 of T

Rule A of Type V + Type T

(2) Results of the rule

03

02

+

±0

±0

09/05

±0

03

05 04

08/04

06/03 Rule B of Type V + Type V

2 * Type V

02

04

01 01

04

03

02

+

09/05 06/03

Rule B of Type T + Type V*2

176

02 Rule D of Type T + Type T

Rule C of Type V + Type V

01

07/02

05 04

03

03

08/04 07/02

02 Result

01

03

Aggaregation Field

Aggaregation Ruleďźš

Curve Surface Block Any shape Brep

Rule A of Type 03 + Type 04 Rule B of Type 03 + Type 04

Curve

Points of the field

300 components

600 components

1500 components

2500 components Aggregation Process

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |177

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS

Generative Process (I) /Catalogue of Aggregations In this catalogue, the previous generative logic was used to create these types of spatial elements of different form and dispersion.

178

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |179

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS

Generative Process (I) /Facade Development Perspective view of elevation & Closeups

The following facade, was designed based on the generative process explained in the previous diagram.

180

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |181

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL DEVELOPMENTS

Generative Process (I) /Facade Development Using as a starting point the different densities of our components we tried to create a gradient and flow that gives directionality and volume to the facade. In the areas with more sparse components light flows in, whereas in the areas where the components are denser we aimed for more privacy.

Two versions of the facade elevation are placed below, one by day and one by night.

182

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |183

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

TITLE

Sub-Title

184

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |185

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

6.DIGITAL CRAFTSMANSHIP COMPUTER VISION WEAVING STYLE RECOGNITION Style Recognition Diagram Method 01 - Tracking

Method 02 - Drawing

WEAVING STYLE CATALOGUE L component

S component

Methodologies of Weaving Styles

Design Examples

COMPARISON OF STYLES ON AGGREGATIONS

DIGITAL CRAFTSMANSHIP Computer Vision

Computer vision is a field of artificial intelligence that trains computers to interpret and understand the visual world by replicating parts of the complexity of the human vision system . Using digital images from cameras, videos and deep learning models, machines can accurately identify and classify objects — and then react to what they “see.”

In our research, computer vision was explored as a way to identify weaving patterns - styles which would then become digitized and therefore possible to be followed by anyone.

Object tracking is a field within computer vision that tracks objects as they move across a series of video frames. This works by creating a unique ID for the object which will be identified in each frame and specify its new position. As it is explained in the following pages, tracking was used as a way to identify weaving motion, by placing a distinguishable object at the end of the rope.

Augmented Reality technologies overlay imagery or audio onto the existing physical enovironment. This could not be done without computer vision (CV) which scans the environment allowing digital information to be placed wherever the user wants it in space. For our project, we propose mapping the physical component through AR & CV in order to be able to draw the weaving pattern over it with the help of our app.

188

Computer Vision - Object Tracking

http://deepmachinelearningai.com/object-tracking-in-deeplearning/

https://www.stealthtechnologies.com.au/computer-vision/

Computer Vision - AR - Scanning the physical environment

https://techcrunch.com/2019/01/08/scape/?guccounter

https://www.cc.gatech.edu/~dellaert/10S-3D/Welcome.html

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |189

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Recognition/Style Recognition Diagram In a senario where different people weave on the same physical component, each individual would intuitively weave in a different way. Therefore, we incorporated in the design part of the app the option of weaving styles.

The methods we explored were two. The first was movement tracking and the second was drawing curves on the physical model with the use of AR. The goal for both cases, is for the information to become digital and be incorporated in the app so that the users can follow their desired weaving styles.

Individual

190

Assembled component

Individual style

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |191

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Recognition/Method 01- Tracking Weave on each face by moving a sphere of distiguishable color that is attached to the end of the rope. The concept is based on computer visionand works with an algorithm that includes a script for tracking the color and another for tracking the position of the sphere. This process gives us the coordinates of the sphere while we move it and therefore allows us to generate the “weaved” curves. However, this process wasn’t entirely succesful because when a person weaves, his hand or even the rope are very likely to interfere disrupting the process.

Computer/Scene interpertation

Camera/Sensor

Scene

Error 1: rope interferes with marker

192

Error 2: hand interferes with marker

Physical model - attempt

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |193

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Recognition/Method 02- Drawing For this method, we use our digital component and unfold its faces so that it becomes 2-dimensional. This is because our AR app allows us to draw on each face in 2D. Thus, the lines we draw on our screen by viewing the physical model are directly transferred as curves on our design program and can then be attached to the unfolded 3D model.

Solid component

Wireframe

Unfold faces to 2d

194

3D model with clay

3D model with pattern

Generate curves through AR

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |195

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Recognition/Method 02 - Drawing AR allows the user to virtually draw “weaving lines� through the screen of a mobile phone on the physical model. In each diagram below we can see that the curves that are drawn on the screen in the left are automatically transferred to a design software, through the AR application. This allows the user to rapidly decide on the weaving style he prefers and instantly have the digital model of it.

Drawing lines on phone screen

Real-time process

196

Trasnfer to design software

Grid tracking

Digital model - unfolded

Face 1-2-3

Digital curves 1-2-3

Face 3-4-5

Digital curves 3-4-5

Face 4-6-10

Digital curves 4-6-10

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |197

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/L component Nine basic weaving styles were developed for the style catalogue, from which the user can select one for his design. In the making part of the app, users are guided through AR to weave based on the specific style the designer has chosen.

Style 1

High Density

Medium Density

Low Density

Out-Line

198

Style 2

Style 3

Style 4

Style 5

Style 6

Style 7

Style 8

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |199

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/S component

Style 1

High Density

Medium Density

Low Density

Out-Line

200

Style 2

Style 3

Style 4

Style 5

Style 6

Style 7

Style 8

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |201

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 1 The first weaving method works by moving the rope in a circular motion around the component and creating parallel lines. The first strand of rope rotates around the upper part and the second, moves in parallel to create the base.

Methodology

202

Style 1 effect on different components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |203

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 1/Design example

L-Shape Component

High Density

Medium Density

Low Density

204

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |205

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 2 The second weaving method works by starting from one corner of the component and moving the rope towards the two opposite faces to create a “fan” pattern by connecting the starting corner with the two opposite corners. The first strand of rope is for the upper part and the second, is weaved in a “fan” pattern to create the base.

Methodology

206

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |207

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 2/Design example

L-Shape Component

High Density

Medium Density

Low Density

208

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |209

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 3 The third weaving method works by moving the rope in a circular motion around the component in a diagonal way. Both strands of rope start from the same poing but go towards different directions in order to create a “net� like effect around the component.

Methodology

210

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |211

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 3/Design example

L-Shape Component

High Density

Medium Density

Low Density

212

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |213

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 4 The fourth weaving method works by weaving in a “zic zac” motion along every two faces. The first two strands of rope are for the upper faces and the third one moves in the same “zic zac” motion to create the base.

Methodology

214

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |215

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving style 4/Design Example

L-Shape Component

High Density

Medium Density

Low Density

216

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |217

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 5 The fifth weaving method works by weaving from corner to the middle and then again to the corner within each face and in a different sequence everytime. This creates the effect of a deconstructed star on each face of the component.

Methodology

218

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |219

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 5/Design Example

L-Shape Component

High Density

Medium Density

Low Density

220

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |221

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 6 The sixth weaving method works with faces that share an edge at the top.

The user does one full rotation in the beginning and then moves in a a specific “zic zac� movement on each face as it is illustrated in the diagrams below.

Methodology

222

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |223

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 6/Design Example

L-Shape Component

High Density

Medium Density

Low Density

224

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |225

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 7 The seventh weaving method works with weaving seperately on each face.

The user works in a diagonal “zic zac� movement and can easily move between denisities.

Methodology

226

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |227

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 7/Design Example

L-Shape Component

High Density

Medium Density

Low Density

228

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |229

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Methodology of Weaving Style 8 The eighth weaving method works with weaving diagonally around the whole component in a circular movement using a single strand of rope.

This method is also efficient for controlling density.

Methodology

230

Style on Different Components

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |231

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Weaving Style Catalogue/Weaving Style 8/Design Example

L-Shape Component

High Density

Medium Density

Low Density

232

S-Shape Component

Aggregation

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |233

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

DIGITAL CRAFTSMANSHIP

Comparison of Styles on Aggregations The aggregations below are exactly the same but with clay parts of different weaving styles. Each effect is different and it is interesting to see how much the way a person weaves can influence the overall outcome. This makes weaving styles a vital parameter in the design process.

Weaving Style 1

Weaving Style 2

Weaving Style 5

Weaving Style 6

234

Weaving Style 3

Weaving Style 7

Weaving Style 4

Weaving Style 8

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |235

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

7.cerARamics APPLICATION CEARAMICS - DESIGN Outline

Density Control

Generating parts

Replacing with clay Weaving Styles & Glazing CEARAMICS - MAKE Outline Equipment for Assembly Component Assembly

Replacing with clay Weaving Styles & Glazing

CEARAMICS APPLICATION ceARamics-Design/Outline

The app is developed to work in two parts. The first part which is explained through the following diagram, is addressed to designers/architects. Designers have the opportunity to import their forms-volumes, which could be facades, walls etc. and then generate clay parts on them. They have the option to control the overall density and choose between weaving styles and glazings. In the end of the process the users can make their requests for available ceramist workshops worldwide and communities that will manufacture the pieces.

238

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |239

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION ceARamics-Design/Density Coltrol

First, users import their forms to the app and click generate. They can then select the type of habitable space of their preference (public, semi-public, private) which corresponds to a percentage of porosity. Design parameters appear as points within the form. These points can be manipulated to control the position of the components on the surface according to their density. Therefore, users choose how the four different densities of their components will be distributed on their design. The app only controls the amount.

240

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |241

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Design/Generating Parts Solid components are next generated part by part until the whole surface is covered. It is also possible to divide these parts according to their density.

242

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |243

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Design/Replacing with clay Once the generation of solid parts is complete and the distribution of components is decided, replacing solids with clay components will follow. The option of dividing the clay parts according to density is available here as well and users can view what their design will look like before glazing.

244

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |245

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Design/Weaving Styles & Glazing After having replaced the solid parts with clay, users can choose from a variety of weaving styles for their design and then view the glazed version of it by choosing a color from the palette.

246

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |247

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION ceARamics-Make/Outline

The make part of the app is available to anyone. Although there are clear instuctions within the app that guide the user during the fabrication process, clay is a material that needs special equipment such as a kiln for firing and experience with glazing. That is why we suggest that communities who want to participate in the process of making to do so under the guidance of the assigned cermist workshop of their area. Assemblying the frame of the component though, can be easily achieved through AR, from anyone’s home through the use of a mobile phone. The following diagram illustrates how the making process is assisted by the app, by outlining the basic steps users need to follow.

248

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |249

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Make/Equipment for Assembly These two photos display the setup of the equipment users would need in order to assemble the component frame. The rope, sticks and nodes would be delivered to the users once they make their request for availability. Other than that, the only extra part would be the mobile phone -the tripod is not mandatory but helps with stability. Therefore, we realize that the process can be done by anyone without the need of expensive gadgets. The procedure is multidisciplinary and expands the production chain allowing for a fully democratized manufacturing process which is enabled through our AR technology.

250

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |251

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Make/Component Assembly This app is developed to guide users step by step through the process of constructing a component. The process begins by adjusting the nodes and sticks. Then the weaving procedure follows, where users have to adjust the rope according to the style that the designer selected. Users are first given a number of choices from a catalogue of components, from which they can pick the component/s they want to work with and also specify the number they can provide. Afterwards, the sticks and nodes that are needed will be delivered to them labeled by component. Once all the necessary parts are collected, users choose the component they wish to start with and launch the AR application.

252

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |253

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION

ceARamics-Make/Component Assembly At this stage, the AR simulation positions in space the outline of the component and where the sticks and nodes should be. After the user has assembled the frame, weaving zones with lines within them appear, so that it is easy to follow the weavig patterns with the rope. This simplifies the process of assembling the component and makes it faster, even for someone who is doing it for the first time.

AR Simulation - Start screen

254

AR - Placing the nodes and sticks in place

AR - Weaving within the zones

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |255

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION ceARamics-Make/Weaving Process

After having assembled and weaved the total number of components that each user was assigned to, the users collaborate with designated ceramist workshops in order to apply clay and glazes. Finally the components can be shipped to the building site.

AR Simulation - Model Complete

256

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |257

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION ceARamics-Make/Construction Site

Once the components arrive at the building site, the construction workers use the application again to see how the facade - or part of the facade, will be divided so that it can be assembled onto panels. They can then select a division part of the facade for assembly and begin constructing it.

258

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |259

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

CEARAMICS APPLICATION ceARamics-Make/Construction Site

By wearing the hololens, or through a tablet screen, the construction workers can see the division of the facade that is to be assembled made out of solid components of three different colors. Each color corresponds to a different density of components. When the block of clay components is complete, it is attached to a panel which stabilizes it on the building. Block by block or panel by panel the facade is formed.

260

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |261

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

8.ALGORITHMIC IMLEMENTATION GENERATIVE PROCESS (II)

Type 01: L- Combination Research

Type 02: S - Combination Research

Type 01: L & Type 02: S - Combination Research Type 01: L, Type 02: S, Type 03: V & Type 04: T Results

APPLICATION ON FACADES Option 1 Option 2 Option 3

TITLE ALGORITHMIC IMPLEMENTATION

Sub-Title Process (II)/Type 01: L- Combination Research Generative The rules that create the combinations depend on the number that is on each face. By attaching faces with different numbers the result will change.

The surfaces that attach should always match.

05 Âą01

04

03 06 07

02

Type 01: L

08

Density 01

+01

Density 02

Density 03

+01

Rule A: +01 to +01

Result - Solid

Density 02 * 2

Âą01 -01

Rule B: +01 to -01

02

Rule C: 02 to 02

264

Result - Solid

Density 01 + 03

02

Result - Solid

Density 01 + 02

Rule Combination

02

02 +01

+01 +01 02

Result - Solid: Rule A + Rule B

Clay - Result: Rule A + Rule B + Rule C Density 02 + 03

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |265

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION

Generative Process (II)/Type 01: L- Combination Research

03

03 02 02

02 03

Rule D: +02 to +03

Result - Solid

05 04

04

Density 02*2

05

Result - Solid

Rule E: +04 to +05

Density 02+03

06 06

Rule F: 06 to 06

Result - Solid

Density 02+03

08

07

Rule G: 07 to 08

266

08

07

Result - Solid

Density 02+03

Rule Combination

±0

03

05

02

04 02

+01

02

02 06

+01

07

06 ±01

Result - Solid: Combining all the rules

Result - Clay: Combining all the rules Density 01+02+03

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |267

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION

Generative Process (II)/Type 02: S - Combination Research

01

08 05

03 04

07

10 06 02

09

Density 01

Type 02: S

Density 02

Density 03

01

01

03

03

04

04

02

02

03 02

Rule A: 01/02 to 03 01/02 to 04

Result - Solid

Density 03+04

05

05

06

06 05

Result - Solid

Rule B: 05 to 06

Density 03+04

08

09

Rule C: 07 to 08 / 09 to 10

268

08

07

07 10

07

Result - Solid

09

10

Density 01+02

Density 04

01 02

01

01

02

02

02

Rule D: 01 to 02

01

Result - Solid

Rule Combination

Result - Clay: Rule A + Rule C + Rule D Density 01+03+04

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |269

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION

Generative Process (II)/Type 01: L & Type 02: S - Combination Research

05 ±01

04

01

03 06 07

08 05

02

08

03

10

04

07

06 02

09

Type 01: L

Type 02: S

01

03

03 01 03

+

04

02

02

02 Rule A of Type 02 S

Rule A of Type 01 L

+

06

Rule F of Type 01 L

04 02

Result - Solid

06

05 06

05

Rule B of Type 02 S

Result - Solid

08 07 07 Rule G of Type 01 L

270

08

+ 09 Rule C of Type 02 S

10

07/10

Result - Solid

01

02 Rule C of Type 01 L

+

01

02 Result - Solid

02 Rule D of Type 02 S Rule Combination

01 01

01

02

02

03 02

01

02

02

08

07 06

Result - Solid: Combine Type L and Type S

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |271

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION

Generative Process (II)/Type 01: L, Type 02: S, Type 03: V & Type 04: T The components we worked with grow naturally in a 60 °angle which can be observed in the previous examples. In order for the components to populate in a 120 °angle as well, we had to use two transitional components which were Type V and Type T.

02

03

02 05 04

04

01

04

03

02 of V + 01/02/03/04 of T

+

01

04 01

03 of V + 01/02/03/04 of T 04 of V + 01/02/03/04 of T

±0 Type 03: V

Type 04: T

Rule A of Type 03 + Type 04

+

05 04

±0 06 A

03

02

03

02

01

04

05 of V + 01/02/03/04 of T

Rule A - Result

04

02

±0

03

04

05

07 B

Rule B of Type 03 + Type 04

05 04

04

01

03

03

03

06

06

+

±0

02

02

03

02 09/05

Result - Solid

02

03

02

Rule A + Rule B of V + T

05 04

06/03

08/04 07/02

Rule D of Type 01 L

Result - Solid

Rule F of Type 01 L

Random combination 02 of V + 01/02/03/04 of T 03 of V + 01/02/03/04 of T 04 of V + 01/02/03/04 of T

02 05

05 06

01

06

05 of V + 01/02/03/04 of T

Rule A + Rule B of V + T

272

Rule C of Type 02 S

Result - Solid

03

Wall Aggregation

60째 120째

120째

60째

Result - Solid: Combination of Type L + Type S +Type V +Type T

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |273

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION Generative Process (II)/Results

This catalogue of aggregations varies from examples that combine all the generation rules that were explained previously, to examples that include a specific selection of rules and their combinations.

L: rule A + rule B + rule C + rule D +rule G

L: rule A + rule B + rule C + rule D

L: rule B + rule C

L: rule A + rule B + rule C + rule D + rule E

274

L: rule A + rule B + rule C + rule D

L: rule B + rule C + rule E

L: rule B + rule C + rule E + rule G

L: rule B + rule C + rule G

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |275

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

ALGORITHMIC IMPLEMENTATION Generative Process (II)/Results

All rules for L + all rules of S

276

All rules for L + all rules for S + rule for V

All rules for L + all rules for S

All rules for L + all rule of S + rule of V

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |277

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

APPLICATION ON FACADES OPTION 01

ALGORITHMIC IMPLEMENTATION Application on Facades/Option 01

The following pages display the application of our ceramic parts on three versions of building facades, which were implemented by the generative logic explained in the previous diagrams.

The following facade is uniform, creating a “wave-like� effect on its surface.

On the highest point of these wave formations the porosity becomes low allowing light to flow in. In the areas where the waves deepen the components are more solid. Overall, solid parts relate to private spaces whereas low porosity translates to openness and connection to the public.

Component used: L, Rule B & C

Close-up view 1 280

Close-up view 2 Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |281

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

TITLE

Sub-Title

282

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |283

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

TITLE

Sub-Title

284

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |285

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

APPLICATION ON FACADES OPTION 02

ALGORITHMIC IMPLEMENTATION Application on Facades/Option 02

For the second facade, extruded rectangles were designed that intersect on different levels giving volume to the facade. Every rectangle displays low porosity in the middle and becomes denser in the edges which is the area where it intersects with another rectangle.

Component used: L, Rule B & C

Front elevation

288

Close-up view 2

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |289

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

APPLICATION ON FACADES OPTION 03

ALGORITHMIC IMPLEMENTATION Application on Facades/Option 03

The volume of the final building is divided into four “barrel-like� shapes.The barrel located at the street corner welcomes visitors to an open space double height foyer. Every barrel is dense at the parts that frame the ground glass panels and becomes more sparce as it moves up to the main body of the building. The intersection parts of the barrels are also areas of high density.

Components used: V & T

Close-up view 1

292

Close-up view 2

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |293

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

294

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |295

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic

296

Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |297

Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic