FOAM + T.A.K.O - The Emergence of Human Augmentation in Three Dimensional Fabrication

FOAM + T.A.K.O The emergence of human augmentation in three dimensional fabrication.

FOAM + TAKO (Tool Aided Kinetic Operations) The emergence of human augmentation in three dimensional fabrication

Students: Ying Xu Hadin Charbel Samuel Aaron Eugene Lalo Professor: Yusuke Obuchi Collaborate Professors: Jun Sato Takeo Igarashi 1st Year Studio Instructor: Kaz Yoneda DFL Associate: Ken Hotta CU Associate: Kosuke Nagata Technical Support: Yosuke Takami Structural Support: Mika Araki Masaaki Miki

Abstract...................................................................................................7 Part 1 1.0. Manifesto.........................................................................................9 2.0. Human..............................................................................................11

2.1. User erogonomics............................................12

2.2. Catalogue of movements..........................14 3.0. Material..........................................................................................19

3.1. 2 part polyruthane foam.............................20

3.2. Material..................................................................22

3.3. Mesh........................................................................24 4.0. Tool.................................................................................................27

4.1. Preliminary Tool Prototype......................28

4.2. Prototype 1 .........................................................38

4.3. Equipment............................................................40

4.4. Second experiment......................................44

4.5 Second Prototype..........................................48

4.6 Tool Summary...................................................52 5.0. T.A.K.O ........................................................................................53

5.1. Full Haptic Method .........................................64

5.2 Semi Haptic Method ....................................66

5.3. Micro Patterning/ Mass Forming...........72

5.4. 1:1 Section Model ............................................74 6.0. Formal Prototyping .............................................................79

6.1. Design Process - Form Finding ...........80

6.2. Design Process ..............................................82

6.3. Construction Method ..................................84

6.4. Construction Process..................................84 7.0. Pavilion Proposal ..................................................................88

7.1. Site Plan................................................................. 90

7.2. Plan.......................................................................... 92

7.3. Section.................................................................. 94

7.4. View from building 8.................................... 96

7.5. Interior view....................................................... 98

7.6. Exterior view..................................................... 99

7.7. 1:10 Scale model..............................................101 8.0. Project Timeline................................................................. 110 Part 2 9.0. One Off’s.................................................................................. 113

9.1. Material.................................................................. 115

9.2. Tool....................................................................... 123

9.3. System................................................................ 131

9.4. Form...................................................................... 135

9.5. Material Test.................................................... 146 index Material Test................................................................................... 148 Image References........................................................................151 Acknowledgements...................................................................153

Abstract

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PROJECT ABSTRACT The primary limitation in three dimensional fabrication revolves around that of scale; at some point growing the machine beyond a certain size loses any sense as both material and efficiency are not able to grow with it.

As a result, architectural designs either remain in a 3d printed model state and size, or they are retrofitted to the constraints of current construction standards and processes in order to achieve an architectural scale, often times fundamentally changing the project.

Moreover, the issue of scale in the fabrication process doesn’t relate strictly to the limitations of machinery, but also to the limitations that have been imposed on the users operating them, often times being heavy, oversized, and counter-intuitive.

Observing man and machine as independent entities within a historical context, the order of things that lead to this point are evident. It is only fitting to question how redefining the relationships between the two could change not only the fabrication process, but the ways by which projects are spawned and evolved.

It is within this framework that the research was conducted; a bottom-up approach with the only steering force being that of merging the intrinsic and intuitive nature of human beings with the calculated precision and computational capabilities of machines.

The proceeding pages record the process of how we sought to put these two often opposing substances in dialogue.

Finally, it is commonly known that the nature of any research is never linear, and most, if not all, are only concluded after a series of steps forward, backwards, and sometimes entirely out of bounds.

For this reason, the book has been divided into two parts; the first re-arranges the contents in order to express a clear and linear narrative for the sake of communicating the project; the second, exposes the chaotically-organized process undertaken in order to reach the point we have.

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“... are the tools we are dealing with adequate for dealing in representing these design problems, or are we mostly dealing with representation in a sense; the actual thinking and design and solution of designs happens still in our minds and not in the machines where we hoped that technology would actually make a difference.”

“I think we have to be [rigorous and non-sloppy] all the time, but that doesn’t mean that we are not allowed to make new models that actually match our desires, and not just sort of trying to settle on other models developed in other disciplines.” “…that’s a very difficult question; how we can actually match our representational capabilities with our design questions and also develop models that are adequately complex and responsive and actually are developed by us as designers rather than looking for them to respond to that, and ultimately leverage potential advances in technology and then also allow us to see or find novel things that break out of paradigms.”

Kilian, Axel. “Future of Technology.” University of Michigan Taubman College. Rackham Auditorium , Ann Arbor. 24 Sept. 2010. Lecture.

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PART I

1.0. Manifesto

The Emergence of Human Augmentation in 3-Dimensional Fabrication.

PRESCRIPT Man’s capability as an intelligent and creative being can be traced back to the cave paintings in Lascaux; through depictions of animals, human figures and abstract signs one observes the relationship between man and creation through the translation of the hand.

This kind of intelligence can be said to have first moved from the two-dimensional by the creation of the primitive hut (as speculated by Laugier); a primordial structure that also expressed the limited and intrinsic relationship between the human, the hand and now scale.

As the scales of these structures increased, the capacity of the human was consistently integrated into the process, either as a means to perform independently or within a group.

It wasn’t until the industrial revolution that the human found himself completely dwarfed and his capacity surpassed, not only as a physical being but also as a thinking one. Reduced to performing mundane tasks in factory lines, and moving oversized parts with oversized machinery, three dimensional creativity became a commodity reserved for the few licensed practitioners.

As a result of this sudden mode of mass production, gentrification in the creative world, and new class of bourgeois architect, the creative outlet could only be claimed by one of the following categories: 1-three dimensional at the table top scale (i.e. pottery)

Modernism and Corbusian ideology furthered this segregation through a kind of “Stockholm Syndrome” where the human, now hostage to these technological advancements and new theories, accepted his place as a separate entity from nature and machine, promoting a lethargic consumerist existence, made available by home shopping networks, catalog furniture, brand name clothing, and of course the isle of hundred different toothbrushes which provide a perverted illusion of choice and creativity.

The introduction of the computer began resolving this severance by virtualizing the complications that arise from dealing with large scale 3 dimensional objects. However, the hand remained subject to the prosthetics of keyboard and mouse for translation.

Recent trends are gradually bridging the gap between the hand and creation; evidence can be seen in the proliferation of smart phones, drawing tablets, and most recently the 3D doodler; all of which address the long suppressed human instinct to need to feel the thing.

It is now that we propose to bring the digital back to the primitive; and through the use of tool, material and technique, three-dimensionalize architecture at the human scale.

POSTSCRIPT We are our own constraint; weak, irrational, small...

But we are intuitive, flexible, and unique from one another.

2-three dimensional at a slightly larger scale (i.e. sculpture)

We have the capacity to operate individually, or communicate collectively; interpreting, changing and modifying at any point in time.

3-three dimensional at the super human scale (i.e. Mount Rushmore)

Machines have been designed to execute their task first, then modeled to be manageable by humans.

or simply

Humans are forced to learn and adapt to the fixed and static equipment available to them.

4-two dimensional, achievable at most scales (i.e. painting) The above outlets are simply substitutes, either on extreme ends of the human scale, not addressing space, or simply resulting in a step down in dimension; all bypassing the issue of man and his ability to shape his environment.

It is inevitable and predictable that aiming to perfect machines will continue to marginalize the human.

We mustn’t continue growing machines as separate entities, but must redefine them from the start.

Starting with the human.

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2.0.Human

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PART I

HUMAN As the focus of the project revolves around augmenting the human capacity in the construction process, we began first by looking at what the average human bodies are inherently capable of.

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2.1 User ergonomics

As the focus of the project revolves around augmenting the human capacity in the construction process, we began first by looking at what the human body is inherently capable of in it’s most basic state.

We then studied the movements in relation to his hand as the output and the arm and body as it’s displacer in space.

In these studies, the subject was asked to simply move their hand as freely as they wished, being constrained only by the idea that it ought to relate back to some idea of a continuous and smooth movement.

The exercises were first divided into three primary groups: -leg area (ground level) -torso area (mid level) -head area (upper level)

--

The exercises revealed that in some cases the subject’s natural tendency varied depending on their orientation and positioning, as well as their eventual destination; provoking further analysis of gestural movements: -full range (ground to upper) -full range continuous (ground to upper to ground) -full range semi-continuous (segmenting according to changes in body position, i.e crouching, standing etc...)

The movements were rationalized in order to derive an over-arching natural tendency.

The cataloguing illustrates that all the movements relate back to a curve, with or without inflection.

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PART I

Subject 1: Sex: Female Height: 162cm Position 1: 60cm Position 2: 60cm Position 3: 230cm

Subject 2: Sex: Male Height: 175cm Position 1: 65cm Position 2: 65cm Position 3: 235cm

Subject 3: Sex: Male Height: 197cm Position 1: 75cm Position 2: 75cm Position 3: 245cm

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2.2. Catalogue of movements GROUND LEVEL

MID LEVEL

UPPER LEVEL

CONTINUOUS SEGMENT

CONTINUOUS SECTIONING

ENCLOSURE SEGMENTING

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PART I

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2.2. Catalogue of movements GROUND LEVEL 0.25

Foot Level

RADIUS: 0.25 - 1 M RANGE: 0 - 0.65 M LENGTH: 1 - 1.32 M

0.25

Radius (min/max): 0.25 - 1 m Range (min/max): 0 - 0.65 m Length (min/max): 1 - 1.32 m

R0.38

R1.00

R0.70

R0.25

MID TorsoLEVEL Level RADIUS: 0 - 1.25 M RANGE: 0 - 0.28 M LENGTH: 0.6 - 1.32 M

0.25

0.25

R0.50

Radius (min/max): 0 - 1.25 m Range (min/max): 0 - 0.28 m Length (min/max): 0.6 - 1.32 m

R0.55 R0.80

0.25

Eye Level

UPPER LEVEL 0.25

RADIUS: 0.35 - 0.90 M RANGE: 0.75 - 1.05 M LENGTH: 1.15-1.30 M R0.55 R0.35

R0.50

Radius (min/max): 0.35 - 0.90 m Range (min/max): 0.75 - 1.05 m Length (min/max): 1.15-1.30 m

R0.90

CONTINUOUS SEGMENT Full Range

RADIUS: 0.5- 1.10M RANGE: 0 - 1.05 M 0.5- 1.10m Radius (min/max): LENGTH: 1.6 - 2.0 M Range (min/max): 0 - 1.05 m

0.25

0.25

0.25

0.25 R1.10

Length (min/max): 1.6 - 2.0 m

CONTINUOUS ENCLOSURE Enclosures

RADIUS: 0.25 - 4.30 M Radius (min/max): 0.25 - 4.30 m (X) 0.46 - 0.600.46 M - 0.60 m (x) RANGE: Range (min/max): (Z) HEIGHT: 0.95 M - 1.69 (z) Height (min/max): 0.95Mm - 1.69 m (L) LENGTH: 3.68 - 3.89 M - 3.89 m (l) Length (min/max): 3.68 Enclosure: Varying Sections

CONTINUOUS SECTIONING

R

R0.50

R2.50

0.25

0.25

RADIUS: 0.20 - 0.80 M (X) RANGE: 0.45 - 1.60 M Radius (min/max): 0.20M- 0.80 m (Z) HEIGHT: 1.75 - 1.55 Range (min/max): 0.45 - 1.60 m (L) LENGTH: 1.74-4.55 M

R R0.30

Length (min/max): 1.75 - 1.55 m

R0.30

R0.20

Enclosure: Large Section Building

R1.00

R1.00

R0.60

0.25

0.25

ENCLOSURE SEGMENTING RADIUS: 0.5 -1.3 M

R0.55 R0.50

Radius (min/max): (X) RANGE: 1.75 M 0.5 -1.3 m (x) HEIGHT: Range: 1.75 (Z) 1.65m M (z) Height: 1.65 m M (L) LENGTH: 0.8-1.2 (l) Length: 0.8-1.2m

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R1.30

PART I

R0.50

R1.00

R0.40

R0.44

R0.55 R1.25

R0.90

0.25

0.25

R0.25

R4.30

R0.25 R0.75

R0.80

R0.60

30

R0.50

R0.55

R0.90 R1.25

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3.0. Material

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PART I

MATERIAL Whatever the material selected, the user ought to be able to deploy it in such a way that it enables free flowing movements while materializing them in three dimensional space.

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3.1. 2 part polyurethane foam

The material to develop the project was 2 Part Polyurethane Spray Foam.

(Left) Hyper #30 Two-Part Polyurethane Spray Foam.

(Right) 8 frames from a single spray from a jig 20cm high. The total time elapsed between beginning and end frame is 60 seconds. The foams expansion of approximately 550% can be clearly observed between frame 3 and 8.

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PART I

1

5

2

6

3

7

4

8

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3.2. Material

To a large degree, the material performed in accordance with the constraints of the human’s capacity: -lightweight, averaging 1g / cm3 -fast drying, around 1 minute

(Above Left) Dimensions: 3.5 x 5 x 10.5 3 Volume: 183.75 cm Weight: 6.3g 3 Volume /Weight: 29.16 cm /g (Above Right) Dimensions: 6 x 11 x 4.5 3 Volume: 297 cm Weight: 10.8g 3 Volume /Weight: 27.5 cm /g (Right) Dimensions: 6 x 5 x 42 3 Volume: 1260 cm Weight: 42g 3 Volume /Weight: 30 cm /g

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PART I

Consequently, because of the material’s conventional use as a space filling\ insulation, there were some limititations in using the spray gun in an unmodified state: -the spray’s precision is inconsistent, -the material’s expansion is predicatble only within a large margin of error.

Spray from 20 cm high.

Plan (left) Elevation (above) width: 8cm length: 50cm height: 4cm

Spray from 30 cm high.

Plan (left) Elevation (above) width: 12 cm length: 50 cm height: 4.5 cm

Spray from 4 0 cm high.

Plan (left) Elevation (above) width: 17 cm length: 62 cm height: 6 cm

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3.3. Mesh

The imprecision conflicts with the degree of control required in a construction process.

However, we saw opportunity in these otherwise flaws and chose to adopt them accordingly: -the expansion of the foam could be used as a way of literally expanding and filling in human imprecision.

-it’s ability to adhere in a parasitic manner could eliminate the need for a conventional supporting formwork, as it could grow off itself.

What was required then was finding a way to coerce the foam rather than strictly control it.

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It was therefore necessary to introduce another element which was relatively non-existent, serving strictly as a guide and temporary backdrop for the foam to adhere to during its short curing time from liquid to solid.

Three meshes were tested in order to confirm the idea, as well as to differentiate between varying porosities and outcomes.

Ultimately, the more porous Polyester Honeycomb was selected as it is the lightest, the least visibly present, and allows the foam to adhere to one side and expand through to the other, leaving the least differentiation between the two sides.

PART I

(Left) Polyester Honeycomb Mesh (high porosity) (Middle Right) Fabric Mesh (medium porosity) (Right) Fabric Mesh (low porosity)

TOOL

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4.0. Tool

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PART I

TOOL The challenge was then to devise a way to dispense the material in a way that would utilize it’s qualities without being overwhelmed by it’s unpredictably, bearing in mind the human’s capacity as the constant.

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4.1. Preliminary Tool Prototype

Preliminary Tool Prototype (first layer spray / horizontal growth) Two meshes are funneled by the tip of where they are met with sprayed foam. As the gun is pulled, the mesh guided foam is deployed, allowing the foam to be controlled and guided while expanding.

Successive sprays follow the same logic, now either using the previous spray as a guide and formwork, or being independently guided by the users movements.

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Opposite Page (from left to right) (Top) First strand spraying sequence.

(Middle) Second strand spraying sequence.

(Bottom) Third strand spraying sequence.

PART I

Video: Making of Concept Model 29

4.1. Preliminary Tool Prototype

(Right) First Layer (front view) (Opposite Page) First Layer (side view) Bounding Box Dimensions: (w)24cm (d) 55cm (h) 80cm.

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PART I

31

4.1. Preliminary Tool Prototype

Preliminary Tool Prototype (second layer spray/vertical growth) In order to grow vertically, the starting point of the next spray is located approximately at the mid point of the first layer. The user’s natural tendency is to use the first layered spray as a guide, creating a continuity between the elements. This location of spray also increases the strength in the joined moment of the strands as it resists ripping forces.

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PART I

(Left) Adhesion detail at midpoint.

(Below) Top view of layer aggregation.

(Opposite Page) Side View of spraying process*.

Bounding Box Dimensions: (w)24cm (d) 55cm (h) 150cm. *note: Augmented Reality was initially used as a guiding method, which was later changed.

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4.1. Preliminary Tool Prototype

(Right) Front View (Opposite Page) Side View.

Bounding Box Dimensions: (w)24cm (d) 55cm (h) 90cm.

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PART I

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4.1. Preliminary Tool Prototype

Foam and mesh texture, expansion and aggregation detail.

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PART I

Lighting effect prescribed gaps.

through

non-

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4.2. Prototype 1

PROTOTYPE 1 Preliminary prototype results led to pursuing a designed prosthetic to the standard spray gun.

Spool swapping path Spool fixing mechanism Spool rod Rubber tension

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PART I

Spool swapping system

Mesh cutting mechanism Mesh

2 part polyurethane foam

Mesh

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4.3. Equipment

3

8

2

6

1

(Left) Spraying Equipment: 1- 5m spool recharges 2- Vaseline to ease nozzle swapping 3- Spray Foam (Iso, Polyol) 4- Additional nozzles 5- Spray Gun with Prosthetic 6- Protective eye wear 7- Nitryl gloves 8- Scissors for mesh cutting (integrated blades not yet added.)

Opposite Page (Prototype 1)

4

5

(Top) Side view.

7

(Middle) Back perspective.

(Bottom) Front view.

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PART I

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4.3. Equipment

(Right) Spraying Equipment: 9- Disposable suits 10- 3m half mask w/ 6100 filters Opposite Page (Prototype Test) (Left) Side View.

(Right) Perspective.

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Bounding Box Dimensions: (w)140cm (d) 25cm (h) 140cm.

(Next Page) Front View.

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42

PART I

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4.4. Second experiment

Video of the Making of “Tako Prototype” 44

PART I

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4.4. Second experiment

Layer 6

Layer 4

Layer 3 (Above) Prototype top view.

(Far Left) Prototype view showing growing method.

Layer 2

Layer 1

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(Near Left) Lines illustrating the growing method.

PART I

PROTOTYPE 2 From the first prototype, we encountered ergonomic and practical issues, which necessitated a revised version of the tool.

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4.5. Second Prototype

The second tool prototype is a fully integrated prosthetic addition to the gun that achieves a balance between the user’s ability to maintain a necessary degree of control over the output while respecting the freedom in their mobility, allowing their movements to remain relatively unrestricted.

A particular feature of the prosthetic device is that the parts are all designed in 2d and able to be laser cut; essentially making the augmentation of the spray gun accessible to anyone.

Spool swapping system

Spray gun

Spray nozzle

Rotating head

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PART I

Verticals spraying position

Horizontal spraying position

SPEED: high

SPEED: low

PRESSURE: high

PRESSURE: low

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4.5. Second Prototype

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PART I

(Left) Prototype 2 kit of parts.

Opposite Page (Prototype 2) (Top) Back view (Upper Middle) Top perspective (Lower Middle) Side view.

(Bottom) Perspective.

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4.6. Tool Summary

Tool Summary 1- two mesh walls are funneled around the nozzle tip, narrowing the otherwise wide spray, and equally acting as a temporary guide for the foam to expan into.

2- the meshes are wound around two spools located at the back of the gun, with a simple swapping capability to maintain a rhythm in the spraying process. Each spool length totals 5m in length; this maintains an ergonomic and lightweight quality to the gun.

3- two cutting blades are attached at the tip of the gun, severing the mesh and the foam from the tip once the user has decided to end his spray and the foam has cured enough to hold it’s shape.

4-the wrists twisting tendency is complex and dependent on each user, therefore the mesh walls are able to rotate 90 degrees parallel to the ground plane; one wall acting as a base for the foam to rest on during it’s curing time while the other awaits the foam to expand into it; this is a vital detail when spraying curved forms.

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5.0. T.A.K.O.

PART I

T.A.K.O (Tool Aided Kinetic Operations) The deployment method being decided, inconsistencies in human movement required devising a ‘smart tool’; ways of maximizing a consistent output and furthering the possibility of human augmentation in the spraying process.

The smartness (T.A.K.O) can be divided into two symbiotic parts: 1-the tool 2-the system

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5.0. T.A.K.O.

The smartness of the tool itself can be understood as: 1- communicating to the user within the margin of intuition; by which we mean to use only the necessary minimum degree of input to the user to remove cognitive reasoning and allow him to remain concentrated on the moment.

2-reducing the amount of physical control the user needs to exhibit on his body; by which we mean the tool ought to not constrain the users movements or flow of production, but rather allow one to move as freely as is comfortable.

3-machine learning (referred to as ‘neutralization’); by which we mean each user’s interpretation of a guided movement is unique to the person, as is their height and reach (i.e. move your hand left can result in range of degree difference between one person and another), therefore we speculate on how the machine can ‘get to know’ the user and learn his tendencies.

4-guiding the user in 3 dimensional space (explained further under ‘Full Haptic’ and ‘Semi Haptic’) 5-dynamically updating the target form as a whole as a result of imprecisions at the micro scale.

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Wifi Accelerometer Gyroscope Motion Tracker OCS compatible

PART I

The hand already involved in the production process, a haptic system that would allow the user’s eyes to remain focused on the direct output and his hand eye coordination was favorable.

The preliminary haptic guidance system consists of 4 vibrating motors located on the wrist in localized regions signaling up, down, left, right. 2 more motors were later introduced to direct forward and backwards.

Up Right Down Left

Up Right

The wrist is extremely sensitive to the vibrations, however, the size of the wrist in relation to the area of vibration is too small to accurately differentiate neighboring areas. Furthermore, an excessive amount of vibrations moves the intuitive processing into a cognitive one, ultimately resulting in four vibrating motors being involved in a two step process (more of this process explained in the fullhaptic portion) At this stage, the glove is wired to a handheld human operated controller, which with the introduction of the ‘smart’ system and the wifi component, would (Above Left) Top View of glove.

(Above Right) Side view of glove.

(Left) Controller box.

(Opposite Page) References of potential additions.

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5.0. T.A.K.O.

Accelerometer:

-90 degrees -low pressure -low speed

-20 degrees -medium pressure -medium speed

-0 degrees -high pressure -high speed

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It takes the foam approximately 45 seconds to cure enough to hold its own weight.

Spraying vertically, one can move relatively quickly.

Contrarily, spraying horizontally requires one to move more slowly.

The purpose of the accelerometer would be to detect the velocity at which the user’s hand is moving, and signal him via vibration when he is moving either to fast or to slow.

PART I

90 degrees complete half rotation

46-89 degrees partial rotation

Gyroscope: In order to eliminate the possibility of over spray and dripping, a gyroscope would be integrated into the gun.

The detection of the rotational angle would in turn rotate the mesh accordingly with a full range of steps.

In this way, the user’s wrist is freed from any mandatory twists. This will also allow the user to remain concentrated on his spray and movements.

45 degrees partial rotation

11-39 degrees slight rotation

10 degrees minor rotation

1-9 degrees no rotation needed

0 degrees no rotation

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5.0. T.A.K.O.

While the additions to the tool improve the aim of the project, they alone do not provide the dynamic, and integrated capacity that we sought to introduce into the spraying process.

Human imprecision is inevitable, however if the sprays are able to be tracked and recorded, we could introduce a live feedback loop, allowing any discrepancy to become absorbed into the final output a via a live model updating. (see Full Haptic Method)

T.A.K.O. : Firefly used to change LED brightness

Video of movement tracking-Firefly 58

PART I

Motion Tracking: With a constant output of a 6cm diameter foam strand, tracking just the movement of the spray will in turn be translated into the 3D model as the real output.

It is possible that the path intended to be followed and guiding the user differ from the one actually sprayed.

Therefore, introducing a script that will calculate the minimum variation in the next path needed to maintain the global geometry would be able to maintain the target output throughout the process.

PRESCRIBED

SPRAYED

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5.0. T.A.K.O.

Neutralization Neutralization: (Machine Learning) Although we can assume that most humans share similar physiological tendencies, each persons movements are unique within a certain tolerance.

Haptic system will guide worker along the form of prescribed geometry as (P)osition = 0.

3)

H

if (

y( nc e d ten

+ )=

n ma =0 u H y (P) metr o e G )= -3) tion orrec y (then (S C m Syste e Tendenc rs Reve

0

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Human’s interpretation may be correct at (H) = (P) = 0 or slightly off where (H) = (P)+2 = +2.

In this case, system compensates by being (S) = (P)-2 = -2 so that (S) + (H) = (P) = 0.

(i.e. left is universally understood, however, how far left or how slight left is subjective.)

Therefore, we speculate on how with machine learning, the system could gather data on a user’s tendencies, and adjust the intensity of the vibrations accordingly.

PART I

Feedback Loop

Perceived

HUMAN

ERGONOMICS

UPDATE FORM

(S) + (H) = (P) NEUTRALIZE NEXT CALCULATE DIFFERENCE

PRESCRIBED FORM

EVALUATE OUTPUT

HAPTIC DATA

OUTPUT T.A.K.O. TRACE MOVEMENT

TARGET PROTOTYPE

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5.0. T.A.K.O.

The smartness in the system can be understood as an artificial intelligence and human hybridity.

Traditionally, in the construction process, the architectural plan and section have been used as a way of communicating three-dimensional space into a comprehnsible two-dimensional format.

However, our process of real-time multi-axis forming in a free moving process moved us in favor of: 1) a tool designed around the human 2) a non-visual guided method 3) a dynamically fed and learning system

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Full Haptic: The ‘Full Haptic’ mode works in an evolving process.

The user calibrates the tool to his movements, selects his starting point, and sprays--each spray being guide via viabrations.

Because the growing process is quite like an aggregation of self similar parts with minor variation, the user is guided by the strand directly preceeding the one he is about to spray, therefore, it suffices for him to use the curvature of the previous one literally as a guide, altering only specific moments in the path when indicated in order to ultimatley generate the whole.

This mode will most likely be used when a user wishes to proceed in a less determined and more intuitive and free flowing manner.

PART I

Semi Haptic:

Micro Patterning / Mass Forming:

The ‘Semi Haptic’ mode works in a more familiar manner. The user must still calibrate the tool to his movements, however this time selecting both a starting and ending point of his desired working area.

The objective is to control with the least amount of restraint. By this we mean that what is important in such a process is that a target output is achieved, not the ways by which they are.

Different from the ‘Full Haptic’ mode, the user sprays what can essentially be viewed as a framework for which to operate within.* He then proceedes to fill between the frames in the method/direction/ pattern of his choosing.

However, there is a target geometry, therefore based on the intensity and complexity of the form chosen, the system will operate in a ‘Full Haptic’ manner, guiding him to spray whatever parts are necessary for the form to be inferred (i.e. the users perception of the separated strands will allow him to read a full form by filling in the gaps with psychic lines).

We recognize that in a free-forming process, people’s unique movements will inherently generate a variation of patterns. Rather than foricng a homoginization of the movements, both systems (Full Haptic and Semi Haptic) simply guide the user with the least amount of information needed. A variation of patterns will consequently emerge as a result of multiple

This mode will most likely be used when a user wishes to work within a particular region (i.e. a more shaded area, or in a more arms-reach area), or in a more quasi-controlled manner (comforted by the idea of knowing where it starts and ends, or simply based on the amount of time at his disposal.) (*note: the framework in this case is not only a lost framework, but also an integrated on. It can be considered a framework only for the duration of the spray, after which point it is no longer a framework, but rather a fully integrated and non-differentiable piece of the whole.)

63

5.1. Full Haptic Method

Full Haptic Method: 210cm segment

1. The user calibrates the tool to his personalized gestures.

2. The user detects footprint and picks desired starting point.

3. The system writes the path for the user to follow based on his calibration.

4. The user besgins spraying from the starting point.

5. The system scans each spray, not making any changes so long as the user remains within a specific margin of error.

64

PART I

6. The system detects a deviation from the original form. (green=prescribed ; red=sprayed)

5cm deviation

5cm deviation

6. The system registers the deviation and “neutralizes” the calibration. (i.e. the user’s tendency is to go 5 cm too far in at the base and end--the haptic guidance learns this tendency and adapts)

6. The deviation in the spray causes the form to be dynamically updated with a “path re-write”, calculating the minium variation between possible paths to maintain the original geometry. (green=original path ; red=re-written path)

7. The user continues spraying the form (all the while the system continues ‘neturalizing’ and ‘pattern re-writting’).

8. The user stops spraying when he’s reached his desired end point.

65

5.2. Semi Haptic Method

Semi Haptic Method: 60cm segment

1. The user is guided via vibrations along the foot print.

1. User senses vibrations of floor plan range

0.6

2. User selects starting and ending point of range to work in and sprays the

1. Userrequired selects starting and ending point of range to work in. strands (full-haptic).

0.6

3. The system calculates approximation of filling.

2. The system calculates approximation of filling .

0.6

4. Based on the curvature the system introduces additional sprays for the 3. Based on the cruvature, introduces additional surface topography to be impliedthe (thissystem case 2 additional sprays needed, still full-haptic). sprays for the surface to be recognizable.

(in this case, 2 additions are needed because of the degree of inflection)

66

PART I

0.6

5. The user reads thereads implied curvature the surface via the 4 strands he 4. The user the impliedofcurvature. has sprayed.

6. The user begins filling as he pleases (semi-haptic)

5. The user begins filling between the previous sprays.

Caging - 60 cm segment

7.6.The user fills theisfullcomplete surface. with the ‘ fingerprint’ of the user’s The portion

gestures .

8. The portion is complete with the “fingerprint” of the user’s gestures.

67

5.2. Semi Haptic Method

Semi Haptic Method: 150cm segment

1. The user is guided via vibrations along the foot print.

1. User senses vibrations of floor plan range

1.5

2. User selects starting and ending point of range to work in and sprays the

1. Userrequired selectsstrands starting and ending point of range to work in. (full-haptic).

1.5

3. The system calculates approximation of filling.

1. The system calculates approximation of filling .

1.5

1. The system calculates approximation of filling .

1.5

4. Based on the curvature the system introduces additional sprays for the surface topography to be implied (this case 2 additional sprays needed, still full-haptic).

3. Based on the cruvature, the system introduces additional sprays for the surface to be recognizable. (in this case, the smoothness requires only 1 added curve)

68

PART I

1.5

5.4.The user reads the implied curvature ofcurvature. the surface via the 4 strands he The user reads the implied has sprayed.

6. The user begins filling as he pleases (semi-haptic)

5. The user begins filling between the previous sprays.

Caging - 150 cm segment

7. The user fills the full surface.

6. The portion is complete with the ‘ fingerprint’ of the user’s gestures .

8. The portion is complete with the “fingerprint” of the user’s gestures.

69

5.2. Semi Haptic Method

Semi Haptic Method: 210cm segment (with canteliever)

1. The user is guided via vibrations along the foot print.

1. User senses vibrations of floor plan range

2.1

1. User selects starting and ending point of range to work in.

2. User selects starting and ending point of range to work in and sprays the required strands (full-haptic).

3. The system calculates approximation of filling.

1. The system calculates approximation of filling .

4. The canteliever requires that the user first complete a particular region that will support the canteliever.

3. The canteliever requires that the user first complete a particular region.

70

PART I

5. The user sprays the required portion (full haptic) and reads the implied curvature.

4. The user sprays the required portions and reads the implied curvature.

6. The user begins filling as he pleases (semi-haptic)

5. Because the canteliever is not grounded, the user must proceed in a fully haptic guided mode.

Caging - 210 cm segment (60 cm canteliever)

7. The user then sprays along each previous strand.

6. The user sprays along each previous strand.

1:1 model section

8. The portion is complete with the “fingerprint” of the user’s gestures.

71

5.3. Micro Patterning / Mass Forming

Micro Patterning / Mass Forming The examples below illustrate how the same form can be generated while accepting the various possibilities in patterning that can emerge as a result of different user movement preference.

1. Bottom-Up Spraying from the inside of the curve

72

2. Bottom-Up Spraying from the outside of the curve

PART I

?

2. Linear Spraying along horizontal sections.

4. Variations within the session can generate patterns that emergerge from sudden changes in spraying preference.

73

5.4. 1:1 Section Model

Semi Haptic 1:1 Model Prototype: 210cm segment (with canteliever)

(Note: the prototype was generated using the human operated vibrating controller, and A/R as a guide for the person operating the controller. The user spraying has no visual reference at all; he is entirely dependent on the vibrations and his interpretations of them for guidance. The screen shots have two portions, the larger portion shows the reality that the user sees, the smaller screen at the bottom left corner illustrates the systems knowledge; the accuracy of the sprays can also be verified by in the smaller screen.)

1. Vibrations sent through the haptic glove allow the user to identify target areas.

4. He then moves to find his desired end point of his desired working region. However the absence of vibration at the ground level indicates the end point is cantilevered.

2. The user decides the starting point and calibrates (traces) the line to familiarize himself curvature.

In this case, the motion was repeated 5 times; with each succesive trace the amount of vibrations gradually reduced, indicating to the user that he has understood the form to a degree that he is comfortable with.

5. The user follows the haptic system to find the starting point of the cantilever.

3. The user completes the first strand.

6. The user calibrates (traces) the line several times until he is comfortable with the form.

74

PART I

7. The second strand is sprayed.

10. The system then switches into the ‘Full Haptic’ mode; the user being guided by the preeceding strand, and being guided when there is variation

8. The user reads the implied curvature between the two strands.

11. The user continues to complete the form.

9. The user fills in between the two lines in the manner most comfortable; in this case, continuing in a ground-up motion.

12. The portion is complete.

75

5.3. 1:1 Section Model

1:1 Section Model

(Top Left) View from inside of curve.

(Top Right) View form outside of curve.

(Bottom Left) Side view 1.

(Bottom Right) Side view 2.

76

PART I

77

6.0. Formal Prototyping

78

PART I

Formal Prototyping In generating a prototype we sought to express a bottom-up approach.

79

6.1. Design Process - Form Finding

References:

Material (macro scale): The material transitions from a liquid to solid state, thus allowing it to be free formed and lending itslef towards anti-gravitational qualities; essentially behaving as materials in fluid states and environments that are caught in a state of motion.

Human (micro scale):

Process image 1: Algae

The human sprayed process of various users performing similar yet varied operations reminds one of swarm behaviors and patterns; similarily individuals will be working towards a whole, but unconcious and unknowing of how their part will

Process image 4: Ant swarm

80

PART I

Process image 2: Ink in water

Process image 3: Metaballs

Process image 5: Bird flock

Process image 6: Fish swarm

81

6.2. Design Process

Forming Process: In order to challenge conventional forms and ellaborate on the fluid, light weight and instantaneous qualities afforded by the material and process, we sought a formal protoype that would require spraying in 360 degrees, maximize canteliever potentials, and create a homoginzed whole through local differentiation of heights and widths.

Point Cloud of key locations

Human dimensioned spheres

Raw form

Form Optimization

82

PART I

Merging of spheres

Metaball geometry

User Flow Lines

Final Form

83

6.3. Construction Method

Construction Method: Maintaining the integration of the human in the construction process, we speculated of a scaffold free method, building from the bottom up.

The digital model is split into as many human scaled parts as necessary.

84

In this case two 2 meter parts.

PART I

A single user begins spraying, in this operating in ‘semi haptic’ mode.

85

6.3. Construction Process

The user completes his portion.

The first half of the prototype is complete, with the record of each sprayer.

The users continue spraying the second half of the model.

86

Several people gather to hoist the sprayed portions in the air.

The structural supports are eventually subsumed into the greater whole.

PART I

The user continues, alternating between ‘semi haptic’ and ‘full haptic’ modes.

He is eventually joined by other users.

Each user operates and sprayes in their preferred mode and manner.

Others spray parts of the second half that serve as supports to holding the model up.

The protoype is complete; recorded in both the physical and the digital.

87

7.0. Pavilion Proposal

88

PART I

Prototype Proposal ---

89

7.1. Site Plan

10.2

Site Plan 90

4m 1m

20m 5m

PART I

10.2

Plan

1m 1m

5m 5m 91

7.2. Plan

92

PART I

10.2

PLAN (cut 1 m)

1m

10.2

Plan 1m

1m 1m

5m 5m 93

7.2. Section

94

PART I

4.0 3.3 2.7

5.9

SECTION

1m

10.2

Section

1m 1m

5m 5m 95

7.4. View from building 8

96

PART I

97

7.7 1:10 Scale model

101

PART I

Video of 1:10 model 102

7.7 1:10 Scale model

103

PART I

104

#.# TITLE

105

PART I

106

#.# TITLE

107

PART I

108

PART 2

ONE OFF’s The following images have been organized chronologically into the four main categories of the project in order to expose the full extent of the research, as well as record the possibilities of other branches of future studies.

111

9.1. Material

112

PART 2

MATERIAL

113

9.1. Material

Rectangle with augmented reality Without any nozzle attachments, we tried to generate a rectangular geometry with the visual guidance of Augment. Due to the expansion and rough textures of the foam, the geometry could not be conceived.

114

PART 2

Dome with augmented reality By attaching a straight tube, texture of output was significantly smoothed. To follow the visual guidance of Augment was easy, however, the expansion rate of material was not yet accounted for.

115

9.1. Material

Self Pressured foam Although this method was not successful in improving controllability of the material, smoother surfaces were achieved In passing the combined 2-part mixture through a plastic intermediary nozzle attachment,

116

PART 2

String guide Foam successfully clung on to a bundle of strings as guidance; building verticality was successful, however, a lot of waste incurred in the process.

117

9.1. Material

Plastic formwork Spraying the foam on a plastic sheet stretched by two poles allows to create a series of panels that can be customized by the user and joined together into more complex and larger forms.

This provides an interesting outcome that combines both the more natural esthetics of the foam and the smooth surface created by the plastic.

118

PART 2

Twisted column module We attempted to spray foam into tubes made of plastic sheet - knowing it will be removable and leave a smooth desirable surface - and allowed expansion to fill the form work while manipulating.

119

9.2. Tool

120

PART 2

TOOL

121

9.2. Tool

Split path nozzle A nozzle attachment designed to deliver foam to string from both sides in order to reduce spray waste.

122

PART 2

Split path nozzle A nozzle attachment designed to deliver foam to string from both sides in order to reduce spray waste.

Visual Aided Guide

5

w/ Real Time Live Feedback

1

Single Pressure Controlled Pressure

Mesh / Plastic Substrate

4

Single Cartridge Quick Reload Capacity

3

2

Manual Feed (by tension) Automated Feed w/ Varied Speed Control

123

9.2. Tool

Mesh spray gun + AR After the development of the mesh system for the spray gun, using the AR became more difficult due to the angle of the tool. A system of a second camera at the bottom of the tool following the trackers on the ground was developed.

2. Model is projected onto phone via visual aided input.

1. Trackers are picked up by camera.

124

PART 2

Potential outcomes Potential methodology of the order and shape in which strands can be sprayed using the mesh spray gun to assure the best outcome.

125

9.2. Tool

Triple Nozzle Pushing foam through three nozzles allow the output to possess a smooth texture and have each of the strands support one another giving them stronger structural qualities.

126

PART 2

127

9.3. System

128

PART 2

SYSTEM

129

9.3. System

Augmented Reality (AR) The augmented reality program as well as the increasing quality of recognition of trackers allows it to be used to preview and construct models in real time without the need of plans or drawings. It is also possible to enhance this tool with further information such as spraying speed and expected expansion dimensions.

Initial guidance system using the Augmented Reality application was able to achieve perceptual accuracy with a constant deformation rate.

130

PART 2

Addition to spray gun The augmented reality program can be used through a smartphone that uses its camera to show the projected form in its context. The program can be further hacked with the projection animating the expected expansion and the needed speed of spray movement shown.

Speed + expected expansion projection Wide lens extension to smartphone

Extension to existing spray gun Possible animated projection

The depth perception in AR is quite limited. This could be worked around with the use of two cameras showing the two angles of the perspective.

131

9.4. Form

132

PART 2

FORM

133

9.4. Form

Aerodynamic carving A form is created by optimising the form to the wind dynamics of the site every 1m creating a series of lines combined into one final form.

While Bark Pine

Fan: On Weight: 143g

Fan: Off Weight: 131g

Dine formations 1

Dine formations 2

Slide 23

Plan simulation of wind forces at 1 meter height

Section of simulation

Aeordynamic carving

0m

134

1m

2m

3m

4m

5m

PART 2

Wind Tunnel

Wind flow simulations

East

West

Top

South 135

9.4. Form

Formal research After understanding the material better and gaining some control over its expansion and dimensions with the incorporation of the double mesh method a series of form finding experiments were made exploring how the foam could aggregate and work structurally as well as how it could be interacted with.

Emergent

Aerodynamic cave

Climbable woven structure

Arched growing wall

Cave

136

PART 2

Clay models testing various growing methods.

Growing method (see Aerodynamic cave -left-)

Cantelievered shelter

Optimized volume and structure

Optimized volume and structure

137

9.4. Form

User generated design Based on the predetermined parameters that can exploited on site with the material such as wind sound and luminosity the user is guided through a series of forms guiding him towards an ideal form enhancing those parameters. However we recognise that the users movements are unique and that through their experience of the site they will adapt and change the model.

Spatial gradient

Spatial diagram

s1

s2

2.41 2.01

s5

s3

2.15

s9

s7

2.19 4.81

4.85

s10

3.41 4.10

1.72 4.78

1.46 4.18

1.80 3.19

s6

s4

s8

2.36 4.42

2.02 4.94

s11

3.61 3.73

elevation s1

s2

s3

s4

s5

s6

s7

s8

s9 s10 s11

3.00 3.37

3.77

2.43

0.70

10.64

Sectional variation between intended form (red) and user generated form 138

PART 2

Axon

Elevation

Section

0.12 0.12

0.50 0.50 0.14 0.14

0.72 0.72

3.73 3.73

3.89 3.89 2.75 2.75 2.21 2.21

1.87 1.87

2.54 2.54

Technical Elevation

3.63 3.63

3.57 3.57

2.20 2.20 2.33 2.33

2.04 2.04

Technical Section

100cm 100cm

400cm 400cm

Sections of intended form (top) and user generated form (bottom) 139

9.4. Form

Sensorial experience Working with the various qualities of the material such as its sound and thermal insulation qualities as well as ability to block off light or be porous depending on the gaps left between the different strands the following proposal was designed.

Working as a corridor visitors would be able to go through enhanced sensorial experiences of movement; light and sound across the varying patterns of the pavilion.

Scenario

Exterior view

140

PART 2

Wall patterns

Interior view

141

9.4. Form

Emergent forest With the tool becoming more and more liberating and free of constraints we further explored the notion of emergence that could occur with multiple users simultaneously working together within the same site: The outcome was a repetition of series of patterns that each user felt most comfortable with merging and combining into a forest of expressions.

142

PART 2

Video of the making of emergent forest 143

144

index

INDEX

145

Material Test

Concentrated Load on Simply Supported Beam: Yield Bending moment

M= 87.5 kgf/cm

Yield Stress

Delta y= 4.16 kgf/cm2 I= 63cm4

Moment of Intertia

Z= 21cm3

Elastic Section Modulus Young’s Modulus

E= 70.89 kgf/cm2

Comparative Young’s Modulus: Cedar: 70 000 kgf/cm2 Acrylic 20 000 Kgf/cm2

Elastic Bending moment.

Before bending.

Specimen Result 12kg load

Load‐Deformation Curve 14 12 10 8 Load [kgf]

6 4 2 0

0

0.5

1

1.5 Deformation [cm]

146

2

index

Slide 28

Growth expansion test DESCRIPTION: To gather the data which will enable estimation of growth factor in %.

300 ML OF WATER ADDED TO MEASURE DIFFERENCE OF VOLUMN RESULTANT HEIGHT OF NATURAL GROWTH

50ML : INITIAL VOLUMN OF MIX SPRAYED

RESULT: 50ML ---> 275ML 550% GROWTH

147

Image References

148

index

Image References: Part 1 T.A.K.O.: Firefly used to change LED brightness - Source: https://vimeo.com/26112065 Process image 1: Strands - Source: http://l.rgbimg.com/cache1sXRZR/users/s/so/somadjinn/600/ nFbETX2.jpg Process image 2: Rendered animated metaballs - Source: http://matt.legault.me/wp-content/ uploads/2013/06/metaballs_by_maty241-d5sz07z.jpg Process image 3: Inc in water - Source: http://fc00.deviantart.net/fs71/f/2014/242/0/6/hd_pics_epic_ abstract_ink_in_water_hq_wallpaper_by_zukizaki-d7xbohc.jpg Process image 4: Ant swarm - Source: http://www.nextnature.net/wp-content/uploads/2013/07/antbridge_2302146k-530x331.jpg Process image 5: Bird flock - Source: https://radnorshirebirds.files.wordpress.com/2014/01/starlings-2.jpg Process image 6: Fish swarm - Source: http://cdn.digital-photo-secrets.com/images/fish-swarm-water. jpg Part 2 Aerodynamics Shark fins 1: http://i.dailymail.co.uk/i/pix/2008/10/31/article-0-02505E14000005DC-151_306x354.jpg Shark fins 2: http://blogs.discovermagazine.com/inkfish/files/2012/02/shark-denticles.jpg Dune formations 1: http://www.factmonster.com/images/ESCI225DEPOSI001.gif Dune formations 1: http://design.epfl.ch/organicites/2010b/wp-content/uploads/2010/11/W1__sb_data_ charette_1_a414.jpg White bark pine: http://www.asknature.org/images/uploads/strategy/e70b6b7753773a7177fe8358ec26ed2c/whitebarkpine_eharrington01.jpg All non-cited work presented in this document are original works. All rights to respective owners.

149

Acknowledgments

150

index

Special Thanks to Prof. Obuchi and Kaz Yoneda for their continuous guidance throughout this project. As well as to our families, partners and colleagues for their support and advice.

151