M.Arch_Design for Manufacture_Term 01

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DESIGN AS SYSTEMS

BARC0058: Introductory Design Workshops

Understanding and making a wheel as a compression system

STUDENT NO. 20111292

Developing manufacturing systems using compression

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INTRODUCTION

DESIGN AS SYSTEMS - COMPRESSION

Materials

DATE

Oct to Dec 2021

Processes

TYPE

Group Work COURSE

Introductory Design Workshops PROGRAMME

M.Arch - Design for Manufacture MENTORS

Peter Scully Barbara Zandavali Melis Van Den Berg Patrick Dobson Perez Samuel Turner Baldwin

Mark Burrows Lucy Flanders Hamish Veitch Claudia Toma Isaac

Understanding material properties & behaviour

Experimenting with machine outputs & tolerances

CONTRIBUTION

Design Development - Product/Furniture Design Manufacturing Workflow - Prototyping & Making Computational Modelling - Optimisation & Iterations

Optimising design and detail development

Design

Understanding wood bending behaviour through the lens of wheel making

Developing efficient manufacturing systems

Tools

Step 01 & 02 - Research and Articulate

Step 03 & 04 - Demonstrate and Evaluate

The workshops focused on understanding relationships between the object and its manufacturing process with various stakeholders involved, namely, Material, Process, Tools and Design. At the outset, it is an aim to define design that utilises both procedural and tacit knowledge.

This process studied through the development of one universal object is then applied towards a new design objective which exploits the opportunities and constraints of the making process.

These new experiences and learnings are understood and protrayed as a critical analysis document.

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RELATIONSHIPS MAPPING STAKEHOLDERS & ROLES IN DESIGN

4PARAMETERS

4.

ARCHITECTURAL GEOMETRY

CHALLENGE TECHNOLOGY

CRAFT

____Form and logics

Tacit skills

SUPPLY CHAIN MANAGEMENT

Procedural Knowledge

___Material optimisation

PRODUCTION ENGINEERING

____Process efficiency

GOALS DESIGNER Design

Question: What are the opportunities and constraints faced through this process? Are there other parallel relationships that can be studied?

MANAGEMENT Assembly + Make

ENGINEER BMade

// // //

Environmental Strategies Structural optimisation Economic/social Value

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THE PROCESS

CIRCULAR SCHEDULE

research

articulate

To experience the making of the ‘wheel’ - study, explore materials, sizes, components & assembly requirements.

Develop new design objective in relation to the system and skills of wheel making and its manufacturing process

“Wheel” used as a jig.

Bend wood to make “Wheel”

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complete circle- how do we integrate the elements - craft, context and construction in different times and domains?

“Jig” used to make fellows.

To develop new tools to optimise the manufacturing workflow for the new design objective established.

evaluate

demonstrate

The need to manufacture “Jig”.

THE INTENT

// Rationalisation

product

jig

tools

assembly sequence

joinery & structure

IMPORTANCE OF JIGS

design development

material stock

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//Supply chain development product

//Strength through geometry

// Material optimisation

//Efficient manufacturing process

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SYSTEMS MAPPING

INTERRELATIONSHIPS & INFLUENCES

Credits: Peter Scully

To design ‘solutions’ that make the manufacturing process efficient.

Geometry, material and structure of the design intent explain the need of the jig

OBJECTIVE

DESIGN

Developing manufacturing systems using parameters of the design (compression)

SOLUTION

Informed making of the product understanding the stakeholders in the process

MANUFACTURE

handtools_wood

IMPORTANCE OF JIGS

The hand tools help in alignment of the geometry of the object. They have importance in measurement, accuracy and consistency. Local changes affect global geometry.

planing & processing

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Research

MATERIALS & TOOLS

Credits: B Made, UCL Bartlett

Importance of optimised use of raw material - its dimensions, grain direction and knots determines the use of tool, Planar & Tracksaw

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

woodworking systems

IMPORTANCE OF JIGS

joinery and details

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Research

MATERIALS & TOOLS

Bandsaw vs Jigsaw: Importance of machine clearances and tolerances, the need to adapt for non conventional geometry

Importance of strength through geometry to optimise time and logistics management in the fabrication process.

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

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handtools_BMade

IMPORTANCE OF JIGS

Importance of hand tools: They play a secondary role for the primary machinery especially resolving the need for alignment and force applications, example, the use of clamps, scribes and drills.

Credits: B Made, UCL Bartlett

wood/metal bending

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Research

MATERIALS & TOOLS

Importance of material behaviour

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

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handtools_metal

IMPORTANCE OF JIGS

Importance of hand tools in metalworking: the need to save energy, logistics and simplify complexity.

Credits: B Made, UCL Bartlett

subtractive_metal

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Research

MATERIALS & TOOLS

Conventional vs Waterjet cut

Understanding the need of conventional subtractive manufacturing tools in terms of time, accuracy, and potential of the tools.

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

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subtractive_metal

IMPORTANCE OF JIGS

Importance of advanced methods of subtractive manufacturing in terms of time, accuracy, and potential of the tools.

metal machining

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Research

MATERIALS & TOOLS

The need for precision for alignment and working with details and mechanisms

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

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handtools_metal

IMPORTANCE OF JIGS

Importance of hand tools in metalworking: the need to save energy, logistics and simplify complexity versus CNC machine.

The pros and cons of welding vs fastening joinery in terms of fixed, rigid and pinned joints

Credits: B Made, UCL Bartlett

metal joinery

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Research

MATERIALS & TOOLS

Display an understanding of the tools learnt, their strengths and limitations and application on the material processing.

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Articulate

ASSEMBLY - COMPONENTS

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DESIGN AS SYSTEMS - COMPRESSION

A

B

‘raw’ SPOKES x 8 nos. structural stability C

‘polygonal’ HUB geometric variations

‘sharp’ FELLOES x 8 nos. material optimisation D

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Understanding all the elements/components with respect to each other - defining the elements based on the individual function and the connections between them.

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The wooden wagon wheel is elegant: a device held in compression, holding an internal energy, barely caged. It’s construction, a matter of heat and sweat, temper and craft._JULIAN STODD. E

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PERFORMANCE

____Stable in Loading Dept.

Technical reference Created by ____Optimise component sizes and Harsh Manish Shah 29-12-2021 connections Document type B

MANUFACTURABILITY C

Title

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MATERIAL MANAGEMENT 5 D

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FINAL DWG

____Waste Management ____Optimum usage of material

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Document status

DWG No.

___Simpler forms ___Eliminate need for accuracy ___Uniqueness of repeated elements.

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Approved by

F Rev.

Date of issue

7

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Wheel Design E

Dept.

Technical reference

Created by

Approved by

Document type

Document status

Harsh Manish Shah 30-12-2021

Sheet

1/1

Wheel Manufacture

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3 2 MANUFACTURING WORKFLOW

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Articulate

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DESIGN AS SYSTEMS - COMPRESSION

A

BAND

150mm dia steel

TYRE

800mm dia steel

B

SPOKES 45mm thickness Ash

HUB

The main structural elements take the compression force. Wood behaves quite well against compression, however, if applied along the grain.

This aspect is important while arranging the patterns on the raw material.

200mm x 150mm

DOMINO BORE

50mm dia steel

BAND

C

However, another aspect overlooked was the shear force, the sideways force as the wheel does not always run straight. This affects the geometry of the spokes.

150mm dia steel

DOMINO

D

Optimise sizes of the components and nesting layout calculations on the given stock of material

final nesting on 1200mm x 400mm stock E

Dept.

Technical reference

Created by

Approved by

Document type

Document status

Title

DWG No.

Harsh Manish Shah 29-12-2021

FINAL DWG

F Rev.

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Date of issue

Sheet

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Research

IMPORTANCE OF JIGS

Geometric variations

However, the constraints of the bandsaw and the lathe (clamping) posed a hindrance and required jig for angles.

HUB

Does the central hub have to be circular?

Can a polygonal shape be easier to manufacture and planar geometry be fit for seamless joinery?

Structural stabilities

Since this is a secondary element, it was important to avoid complexity, use simple jig but a stronger consistent joinery.

SPOKE

Can the spoke geometry help in systematic pattern layout on the stock to reduce wastage?

Which geometric option display better structural properties? Or does joinery - mortise tenon vs domino also define the structure?

Material optimisations Without the option of bending wood from the stock, can we reduse material wastage by changing the form of the fellow?

But, this shall require proper jig to define consistent curve for the outer tyre and also for manufacturing wth the bandsaw.

FELLOE

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PROCESSES & PROTOTYPES

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Articulate

COMPONENT A - HUB IMPORTANCE OF JIGS

DOMINO

Studying depth

BORE

Link with joinery

LAYERS

Sandwiching the wooden layers as per the joints and bores

// Jig issue and development

Lathe machine

BandSaw Machine

CONSTRAINTS

CHALLENGES

STRATEGIES

EXAMPLES

___Understanding the Linkages between process physics and material properties in forming the geometry required

___Prototyping ___Clamping systems ___Toolpath setups

___Polygonal forms were not always easier to make against a circular given the range of tools in the context.

___Lathe ___Domino Alignment

THE NEED FOR JIG:

// Development Process

BANDSAW: In order to achieve streamlined angled cut geometric hub.

LATHE: Long process to achieve the central circular hub from the cuboidal planks, given the octagonal edges.

IMPORTANCE OF JIGS

// Geometric Options

CONSTRAINTS ___Maintain

consistency

and

accuracy

THE NEED FOR JIG:

STRATEGIES

BANDSAW: Angled geometric cuts and to hold the workpiece in place.

CHALLENGES

DOMINO CUTTER: Precise location of the domino cuts for aligning joinery and re-alignment as per levelling constraints of the domino cutter.

___minimize unique part count, efficient cutting patterns and the use of jigs

___Joinery - doubled part count but used stock parts to ensure consistency

// Development Process

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Articulate

COMPONENT B - SPOKES

IMPORTANCE OF JIGS

CONSTRAINTS

___Clearly identifying where accuracy is needed

STRATEGIES

___achieve curves with subtractive manufacturing processes

CHALLENGES

___Polygonal forms were not always easier to make

THE NEED FOR JIG: BANDSAW: Analysed best cutting options for the curve.

Then developed jig geometry and conducted test cuts on bandsaw further adjustments to jig like the addition of clampsaw

// DPrototype Options - Jig development

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COMPONENT C - FELLOES

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FLIMWELL SITE

DESIGN AS SYSTEMS - COMPRESSION

Temperature is the mechanism of coherence for the wheel: the wood remains as a stable temperature, but the iron bands are heated up to red, or white, heat on the charcoal of the wheelwrights forge. the iron band, as heated, expands, as the energy from the charcoal is imparted to the iron, exciting the atoms, moving them apart, imbuing energy.

The red hot band is then placed, with care, onto the wooden hub, held in tongs, protected by leather gloves, and hammered down into a tight fit. But the tight fit when hot is not enough: the red hot iron is doused with cold water, causing it to spit and steam, and contract. Now, it’s already tightly hammered onto the wooden mass, so this contraction caused it to pull the central wooden mass more tightly together. It literally clasps it into place. The whole contraption held in compression.

Affixed by the same technique, it’s this outer band that pulls the whole wheel firmly into it’s state of compression.

Any imperfection will be shown up at this stage, if they spokes are not aligned, the wheel can collapse from the pressure.

- Julian Stodd

UNDERSTANDING APPLICATION

The Nature and Aesthetics of Design/David Pye

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Demonstrate

COMPRESSION SYSTEMS

Question: What are the compression systems defined from the wheel? How do the materials behave? Deriving various concepts.

The metal band holds the whole wheel and keep it in compression. The spindles transfer this force to the hub of the wheel. Due to the fact that the metal band in the tension. The metal ring makes compression towards to wood

The Chair: rethinking culture, body and design / Galen Cranz

// Establishing relationships between wheel and the chair

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Articulate

THE NEW DESIGN OBJECTIVE IMPORTANCE OF JIGS/CHAIR DESIGN

OBJECTIVE: To design a balancing chair to carry weight/manufacturing process for the same, in this case a jig to bend wood for the member of the chair.

Structural Force Diagrams

Sit of Faith by Studiomake

CONSTRAINTS: Propose a flexible system activated (balanced) by the user’s body.

Accommodate ‘every person’ in our course body size and weight.

The Flying Chair by Boltmetall

?

FLOAT - Active Sitting by Niklas Hamann and Jakob Schwarz

The New Design Objective

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Articulate

ACTIVATION SYSTEMS THE NEW DESIGN OBJECTIVE

COUNTERWEIGHT

DECOMPRESSION

PIVOT SYSTEMS

Various mechanisms were explored and studied to establish the activation system on the chair based on the weight of the person.

However, the pivot mechanism and design provided an opportunity to study the relationship of compression in terms of manufacture through bending wooden members.

RIGID SYSTEMS

THE NEW DESIGN OBJECTIVE

The chair design was developed in accordance to the ergonomics of the user as well as staggering the pivot points to accommodate the mechanism.

Thus new iterations for the geometry were developed and fixed and variable constraints and parameters were established to streamline the fabrication.

CONSTRAINTS/VARIABLES FIXED CONSTRAINTS: __Using pivot points for Balancing to achieve various postures __Using Concentric Rings __Using wood to make rings using bending VARIABLE PARAMETERS: __Location of pivots __Form of the Rings __Supporting/Balancing the entire chair system

// Establishing a design option

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Articulate

CONCEPTUAL DESIGN

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Articulate

DESIGN DEVELOPMENT THE NEW DESIGN OBJECTIVE

As per design iterations, there was a need to make a jig that could accommodate a variety of curve geometry.

CURVES Understanding curve geometry as per developed design

ELLIPSE Development Stage 2

ERGONOMIC Development Stage 3

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Articulate

PROPOSED DESIGN SOLUTION THE NEW DESIGN OBJECTIVE

DERIVING THE FINAL FORM __Raising the point of balance. __Adding counterweights in a manner that centre of gravity shifts below the pivot point. __The weight be towards the

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should edges.

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Articulate

THE SOLUTION IMPORTANCE OF JIGS

Questioning the efficiency of conventional wood bending methods and its constraints; also some non-conventional systems which are ancient and advanced research methods.

CONVENTIONAL SYSTEMS Heavy formwork and energy use

NON - CONVENTIONAL SYSTEMS Japanese Bow Bending Technique

Robotic Wood Bending

Wood Barn/AA Design & Make

WOOD BENDING METHODS Kerfing

Lamination Bending

Steam Bending

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Demonstrate

THE NEED FOR JIG

MANUFACTURING FRAMEWORK

// Proposed Design

// Avoiding Conventional Fabrication

// Manufacture Solution

Question: What is the need of the jig?

How is it msnufactured? What is its application and the change in its design as per the geometry and materials!!

// Process Techniques

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Demonstrate

STEAM BENDING

MANUFACTURING FRAMEWORK

Decrease the strength of lignin bond between wood fibers with steam.

Stock : Minimum waste Preparation : Soak the wood for at least 24hrs Bending : 24 hrs Post Bending : Doesn’t require cleaning up Conditions: need straight grain, less than 1” runout for every 12” Temperature: 260 F or 127 C temperature Timing: fresh sawn = 1hr for every inch thick Species: restricted to certain species-Ash,Oak, Maple, Beech Geometry: restricted to simple curves, gradual and large curves Precision: no precision even with same 2 jigs Springback: high springback and low consistency

PROPERTIES

MATERIAL BEHAVIOUR

VERITAS - Steam Bending Instruction Booklet

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Demonstrate

LAMINATION BENDING MANUFACTURING FRAMEWORK

Stock : Loose Material from preparation Preparation : Cut and plain to thin layers Bending : 24 hrs to let the glue dried Post Bending : Require cleaning up

Less Preparation Time Material Waste waste due to offcuts, molds.

Stronger as grain of each layer is aligned to the direction of curve

Decrease the strength of lignin bond between wood fibers with steam.

MATERIAL BEHAVIOUR

WOODEN SPRING MECHANISM

Any wood and any combination of curves Need male+female mould a lot of cleaning excess glue Hold its shape. Less Springback

Can this lamination cold bending system with minimal springback be used to develop this potential of wood and generate a flexible yet sturdy system with varied applications??

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KERF BENDING

Demonstrate

IMPORTANCE OF JIGS

MATERIAL BEHAVIOUR Strategically removing material along the length to allow flexibility.

PROPERTIES Stock : Loose Material from preparation Preparation : Cut numbers of slots along the length Bending : 24 hrs to let the glue dried Post Bending : Require cleaning up The Least Preparation Time Less Material Waste Hold its shape. Low Strength Easy to achieve

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Demonstrate

JIG MECHANISMS

SCISSOR AND APPLICATION

Jennifer Cupri, Jewellery Mechanism

Understanding application of Hobermann & Scissor Mechanism Applying the mechanism to current ‘wheel’ system at hand

1.

Using the wheel as a starting point 2. The need to develop an adjustable jig for the proposed design.

3. Designing a parametric jig for adaptation and consistency.

4.

Time to explore ‘mechanisms’ and ‘geometry’.

JIG DEVELOPMENT

GEOMETRY DEVELOPEMNT

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Demonstrate

JIG DESIGN AND GEOMETRY

Graphic showcasing movement of the wooden member within the jig and multiple orientations of the jig to accommodate further bends Achieving the overall bend in parts as per the radii

CIRCLE to ELLIPSE to PARABOLA

MECHANISM TRIAL

// Processes

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Evaluate

JIG PROTOTYPE

Prototyping using laser cutting and testing the scissor mechanism of the jig.

Standardising the jig with multiple radii options

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Evaluate

SYSTEM TO MANUFACTURE JIG - THINKING IN STEEL

TOOLS

System behaviour after the wood is bent. Key resolution needed in the car jack mechanism of central rod axis motion. Rationalise components important at this stage to define the manuface process.

System behaviour at start when the steamed wood is fed in. Important locations of fixed and pinned joints. Basic steel sections used for making the system generic.

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Evaluate

DETAILS TO MANUFACTURE FINAL JIG DESIGN TO FABRICATION

A

B B C

However. some parts of it were made using conventional tools and basic extrusions like box sections and mechanical fastening was preferred over welding.

A C

DESIGNING IN STEEL

A shift to thinking in steel. In steel manufacturing, first aspect considered was to make from steel sheet for better integration of pivot brackets and accuracy for alignment.

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MANUFACTURE JIG

FINAL JIG DESIGN TO FABRICATION

Importance of tolerance and alignment is key to steel fabrication process as that impacts the precision of the mechanism and its impact on the wood bending.

Evaluate

FINAL JIG DESIGN TO FABRICATION

Joinery Tectonics

Details - Managing Complexity

Key differences were observed in the fixed joints by mechanical fastening versus the one by welding. This impacts the movement and geometry of the mechanism.

DIGITAL CNC TOOLPATHS

WELDING

ANALOGUE PROCESSES

Rapid Manufacturing Methods

MECHANICAL FASTENING

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Evaluate

FABRICATION DECISIONS

A balance tradeoff between time management, logistics versus precision, finishing had to be decided while working with analog and digital tools.

By skipping aesthetic finishing and precision, it was important to resolve technical aspects to enhance the jig behaviour.

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Evaluate

FINAL JIG & TESTING

FINAL JIG DESIGN TO FABRICATION

Wood bending testing process

when it is bent in a curve, the outer radius fibers are being stretched; that is, they are in tension. The inner radius fibers are being compressed. The more severe the bend, the greater the forces that are developed. If the tension or compression forces increase so much that they exceed the wood’s strength, we will have a failure.

It bent in form of V-curve rather than smooth curves

IMPORTANCE OF JIGS

application to the chair design

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Evaluate

FUTURE PROPOSAL

the need for more CONTROL POINTS

addition of EXTENDABLE arms

modified system for WOOD TWISTING

30 RESEARCH QUESTION

Design and prototype novel manufacturing operations that harness material potential, innovate assembly techniques and optimise the collaborative production workflow that balances between traditional craft making and digital fabrication!

THANK YOU

2021/22

BARC0061: Contextual Theory STUDENT NO. 20111292

fig 1. KnitCandela is a concrete shell structure that uses stay-in-place knitted formwork

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MECHANISATION OF CRAFT Technology and its social value in design STUDENT NO. 20111292

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fig2. Shells developed through ‘hypar’ geometry, Los Manantinales, Xochimlico, Mexico, 1958 - Felix Candela

“What are the borders of craft?

Tools and technology have always assisted and opposed the hand throughout history.”1

The study on the dynamics between the craft and the digital and their application on the architectural context, form the crux of the paper. It attempts to study the Knit Candela project2 as a comprehensive tool that promises to define novel craft-based tectonics with its flourishing tools of technical sophistication.

In this definition of new hybrid systems, on one hand, it is essential to study how this project is one of the pioneer ones that develop new notions of craft within the current global context of the architectural industry. While on the other hand, it is important to be critical to analyse how successful have these complex digital workflows been in providing produces optimal solutions to the architectural development.

All in all, it is an attempt to understand the implications of blurring boundaries between craft and technology and hence, it brushes through at various points, on the social implications of this craft-technology combination within this project in terms of economics (cost and efficiency), performance (environmental/structural), and architectural expression (role and effect on human). fig 3. Lightweight non-standard complex nodes as an efficient stay-in-place formwork derived from 3D knitted non-orientable surface from a single process.

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(McCullough n.d.)

(Popescu, Rippmann, et al. 2020)

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DIGITAL TRANSLATION OF CRAFT

“The Hand and the Machine. Handcraft was once the tool of commodity, but today it is the machine that is the tool of commodity.”3

Throughout history, craft has always been redefined and transitioned as per changing times and technologies. They were adapted, rejected, revived and ‘industrialised’. In the current era, does craft need to be digitized to evolve or rather, just to retain its existence. This digitization can be abstractive, yet the challenge remains in its integration. Abstraction involves interchange of mediums, behaviour, and response systems due to digital dominance.4 However, both craftsmanship and digital tools are human skills at their roots. It is mere intelligence in tapping and evaluating each one’s potentials and creating a symbiotic relationship between the two arenas.

To address the issues stated above, can mechanization of craft add social value to technology to develop comprehensive architectural design solutions? The Knit Candela project taps into the flexibility of the craft of knitting textile - it’s ability to generate a non-orientable surface (a 3D complex geometric form) from one single fabric, without cutting patterns against multi-stitched 2D directional woven. It investigates how the simple flatbed knitting machine be steered to make non-standard geometry using digitally developed CNC knitting pattern. Most importantly, it invests in this rudimentary craft of knitting and transforms it into ‘computational knitting’ as mentioned in the paper. Hence, this now leads the conversation from the physical space of the craft to it digital translation, a re-definition of the craft. fig 4. Generated Knitting pattern for the double sided textile derived from the knitting machine that has elements for adjusting the behaviour of the cables and the shuttering inflatables.

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(Kieran and Timberlake n.d.)

(Mccullough, n.d.)

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CRAFT REVIVAL AND ITS IMPLICATION ON THE DESIGN-TO-PRODUCTION WORKFLOW

There are parallel discussions on the sustenance versus progression of craft, modes of sustenance or re-purpose in new contexts with developing times. This project seems to achieve a remarkable milestone by addressing an establishment of the digital workflow, ‘computational knitting’, which produces manufacturing data, namely, knitting pattern from the 3D geometry for the CNC machine and the textile shuttering. The flexibility of the knitted crafts to be tensioned and supported by auxiliary systems without the need to join the textiles. Moreover, in order to address complexity through various interdependencies involved, like managing timelines and ensure productivity, including the construction intelligence within the textile seemed to be effective.

This intelligence, namely, ‘computational knitting’ was embedded in various forms. During the manufacturing stage, the textile sizing and configuration was strategized based on the width of the machine bed, the 36 hour knitting time limit for the entire fabric and the rationalization of the shell geometry division simultaneously with just 4 seams.5 The generation of the knitting pattern that describe the alternating needle and yarn action in the form of 2D matrices (pixel grids) given as a set of instructions to the CNC machine, adds another layer to the craft intelligence.

These patterns were developed using in-house digital tool, compas_knit package which unfolds another digital foray.

fig 5. Computational knitting pattern for one rationalised strip with all the required input data.

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(Popescu et al., n.d.)

fig 6. 3D geometry to knitting instructions process: Patching the form; course generations for machine toolpaths; loop generation for each individual needle to 2D pixel patch generation for the knitting machine.

This ‘digitization’ of craft provides an added advantage to the geometry by making the formwork a part of the structure. This craft-technology collaboration is further enhanced with integrated BIM and open-source platform Compas, by the Block Research Group that helps in smooth communication amongst the interdependencies. Hence, the statement by Malcolm Mccullough that ‘Craft skills are never going to be replaced but can be dramatically enhanced by digital tools’ is quite valid in this regard.6 This programming to determine the logic of knitting and again translating into different features of the pattern can be regarded as a digital stimulation of the ‘physical craft’ and makes one question the limits of the skills of craft and the power of ’data’.

How fingers, fabric, and thread interacted to build up the suits’ complex assemblies and the freedom or the creativity of the craftsmen influence the development and application of the craft. 7 Does this signify the importance of the craftsmen in the process? What role does machine play in? This was answered by the Industrialisation Revolution in the last century. Now, the question is rephrased as what role does ‘data’ play in advancement of craft? This example illustrates the use of data to give ‘life’ to this ‘industrialised craft’ as well as provides details on ways and means of tapping potentials of craft in the efficiency of structural performance and therefore the Design for Manufacture and Assembly process.

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(Mccullough, n.d.)

(Monchaux n.d.)

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fig 7. Feasible, efficient and economical system from design to concrete structure using knitted formwork. This involves two ways one, managed logistics, tension on site and then coated formwork generation. Second, pre-fabricated solution in terms of components and assembly.

INVESTIGATING THE TECHNOLOGICAL INNOVATION The Knit Candela project, developed as a homage to Felix Candela is a prototype that challenges the construction, logistics, waste, and economy of concrete shell formworks.8 It explores the possibilities of integrating digital fabrication with skills of traditional craftsmanship.

Previously, the paper investigated the development of craft in the process, now it is critical to see how the craft was enhanced to bring in technological innovation. For instance, how can this knitted fabric be mixed into cement base and be developed to generate this novel hybrid load bearing structure? And the testing of its mechanical properties to create logistically efficient base formworks for complex material-intrinsic concrete construction.

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(Popescu et al. 2021)

It relied on novel computational design methods to develop both a complex global geometry which is structurally optimized and focused on a strategic formwork system that minimizes waste and saves time. It was studied through this example how a 'craft' is regenerated through 'state of the art' technology. Now, it investigates into how complex structures are built at low economic and environmental cost through the strategic use of computational design and fabrication, combined with craftsmanship.

This interlinks other discussions: How is the design optimized for environmental performance in terms of material use and recycling? Can this prototype be built at a low economic cost in value of time and logistics with respect to its structural performance? Is this a new means to spatial design - creating 'performative' aesthetic interior-exteriors using craft and material techniques and exploration of architectural geometry? Understanding 'human' component in computational design - 'machine' as tool of craftsman.9 The overarching focus on the complex geometry of the design gives one the answers.

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(Scheurer, n.d.)

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fig 8. Cement spray coating over the inflated cavity pockets stiffened with a formwork of cables and textile within a fixed conventional frame.

COMPLEX GEOMETRY, ITS INTERPLAY WITH OPTIMISED PERFORMANCE.

Lightweight construction and reducing material volume (within and for the construction) are the need of the hour given the increasing carbon footprint of the building industry. “For their stiffness, structures with less material can utilize their geometry and the placement of material where needed according to the natural flow of internal forces. Doubly-curved and rib-stiffened shells offer the possibility of increasing the load-bearing capabilities of a structure in a material efficient and economical way.”11 The form-finding was an iterative process to achieve an optimized structural analysis to achieve a self-stressed geometry.

Lightweight construction and reducing material volume (within and for the construction) are the need of the hour given the increasing carbon footprint of the building industry. “For their stiffness, structures with less material can utilize their geometry and the placement of material To achieve the desired geometry, a self-supporting frame was developed for the textile where needed according to the natural flow of internal forces. Doubly-curved and rib-stiffened tensioning using cable nets and inflatables. Even though additional falsework was used for the shells offer the possibility of increasing the load-bearing capabilities of a structure in a material same, it was strategic as it avoided conventional heavy scaffolding and bulky foundations. This efficient and economical way.”11 The form-finding was an iterative process to achieve an optimized instils elements of offsite construction and ideas of disassembly/re-assembly. Moreover, the use structural analysis to achieve a self-stressed geometry. of in-place mould reduces post-construction waste. However, all these frameworks were geometry-dependent and not standardised. This casts a doubt on the overall effectiveness of complex structures even though they confront multiple other challenges of the building industry.

To achieve the desired geometry, a self-supporting frame was developed for the textile tensioning using cable nets and inflatables. Even though additional falsework was used for the same, it was strategic as it avoided conventional heavy scaffolding and bulky foundations. This Complex architectural forms, be it for artistic expression or for structural performance instils elements of offsite construction and ideas of disassembly/re-assembly. Moreover, the use generally behave as prototypes for blending building elements (load bearing and aesthetic) using of in-place mould reduces post-construction waste. However, all these frameworks were non-standard geometries for enhanced user experiences. How effective are their social geometry-dependent and not standardised. This casts a doubt on the overall effectiveness of implications in the way that they spatially behave as systems and how do the construction of these complex structures even though they confront multiple other challenges of the building industry. systems define boundaries between craftsmen and machines? Moreover, they are perceived as frontiers in material explorations. ‘Craft’ can be an added factor that enhances and embraces the material, its texture, tactility and play a key role in the overall impact of the architectural system.

Complex architectural forms, be it for artistic expression or for structural performance generally behave as prototypes for blending building elements (load bearing and aesthetic) using non-standard geometries for enhanced user experiences. How effective are their social implications in the way that they spatially behave as systems and how do the construction of these systems define boundaries between craftsmen and machines? Moreover, they are perceived as frontiers in material explorations. ‘Craft’ can be an added factor that enhances and embraces the material, its texture, tactility and play a key role in the overall impact of the architectural system.

While the materials and their interlinked manufacturing processes remain the key study of the project, it tries to challenge the importance of formwork management (rigid versus flexible), be it, additive/subtractive/adaptive/stay-in-place and their repercussions on the circular chain.10 This impacts the main load bearing core layers of the structure. It also debates the need of complex computational structures which are challenging, non-repetitive and require specific machinery.

However, do the parameters of structural efficiency outweigh these challenges and what role does the architectural geometry play in this process?

The global geometry focused on distribution of structural forces and judicious use of fabrication operations (scaffolding), balanced with aesthetics, thus reducing the dependency on mathematically deriving surfaces like the use of hyperbolic paraboloids in the case of Candela. This simplifies and fastens the production process and geometric complexity. The optimisation strategies like stay in-place moulds, minimal foundation and flexible scaffolding which were supplemented by the behaviour of the knitting craft further has an impact on the geometry and therefore the Knit Candela as a comprehensive example to address these commonalities.

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(Popescu, TedX Talks Youtube n.d.)

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(Driaenssens, et al. 2014) fig 9. Knit Candela’s concrete waffle shell section with the thick shell and stiffeners; and the textile layers beneath. The space between are the voids developed by inflation.

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(Driaenssens, et al. 2014)

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THE HYBRID SPACE - TECTONICS OF ‘DIGITAL CRAFT’ The material technology in combination with craft aims to create an architecture with a “new vision and sensory balance”.12 The crisp, uniform, yet non-standard geometrical form maintains a visual as well as a haptic balance with the interplay of soft, striking knitted textile against the sturdy tensioned elements; the intermediate layers of inflated parts set in shape with the static fluid; and the external rigid concrete form smoothened by the curved geometry and tactile rendering instilled by the craftsmen. One gets a reflection of intangible components of complex structures; however, the tangible elements tell a different story.

The transformation of the tensioned knitted formwork into a load-bearing concrete structure13 on one hand showcases the augmentation of the craft, while on the other hand, questions the definitions of the tangible and the intangible components of the craft in this novel space. As mentioned by McCullough, can it be made more inclusive by believing that technology supports the subtleties of the hand.14 The paper further suggests studying the intricacies and the effects of this new hybrid space developed with the integration of craft and technology.

fig 10. Concrete spraying by the local Mexican craftsmen over the inflated formwork that helped reduce thickness of shell and weight of the overall structure.

A symbiotic relationship is established here - one, additional support manufacturing elements used to reinforce the craft’s form development and two, integrating the shaping possibilities of the craft for smoother application of concrete technology. In addition to examining the spatial character of the complex spaces, how does it impact the behavioural pattern? Does the materiality display only its tactile character or create a new spatial experience?

12

(Pallasmaa n.d.)

(Popescu et al. 2021) 14 (Mccullough, n.d.)

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INTERRELATIONSHIPS OF SPATIAL EXPRESSION & HUMAN BEHAVIOUR In defining this novel architectural process, while geometry is comprehended to develop spaces, structures, and forms, they also help to interrogate “socially closed spaces”.15 How can complex geometry and construction aid in delineating the borders of closed systems today? Knit Candela is an example of free-form geometry developed through distribution of forces densities which is intertwined with feasibility of concrete shell construction.16 These provide added In defining this novel architectural process, while geometry is comprehended to develop advantages of generating obstruction-free flowing space interiors, redefining modular units rather spaces, structures, and forms, they also help to interrogate “socially closed spaces”.15 How can than complexity of components, developing public space elements and merging interior-exterior complex geometry and construction aid in delineating the borders of closed systems today? Knit spaces. Therefore, these possibilities help in countering the idea of ‘closed spaces’.

Candela is an example of free-form geometry developed through distribution of forces densities which is intertwined with feasibility of concrete shell construction.16 These provide added advantages of generating obstruction-free flowing space interiors, redefining modular units rather This helps in re-establishing the value of ‘representation’ as mentioned bridging the gap than complexity of components, developing public space elements and merging interior-exterior between Brunelleschi and Alberti’s philosophies by providing a language to the physical spaces. Therefore, these possibilities help in countering the idea of ‘closed spaces’. instruments, here crafts, using the assets of ‘correct Draughts’, in the form of ‘virtual construction’.17 Can crafts be progressed this way? Do the technical engineering drawings be then replaced with these ‘artifacts of handcrafts’, like the patterns and procedures of the suit This helps in re-establishing the value of ‘representation’ as mentioned bridging the gap construction for NASA?18 Or can one investigate other forms of ‘representation’ with the aid of between Brunelleschi and Alberti’s philosophies by providing a language to the physical technology. To address this debate, one can repurpose craft and technology in another scenario. instruments, here crafts, using the assets of ‘correct Draughts’, in the form of ‘virtual construction’.17 Can crafts be progressed this way? Do the technical engineering drawings be then replaced with these ‘artifacts of handcrafts’, like the patterns and procedures of the suit construction for NASA?18 Or can one investigate other forms of ‘representation’ with the aid of technology. To address this debate, one can repurpose craft and technology in another scenario.

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(Kallipoliti 2015) 16 (Popescu et al. 2021) 17 (Hauck and Bergin n.d.)

18 (Monchaux n.d.)

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(Kallipoliti 2015) (Popescu et al. 2021) 17 (Hauck and Bergin n.d.)

18 (Monchaux n.d.)

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The craft of Sadu making (an ancient Emirati form of weaving and carpet making) was optimised by digital technologies like robotics by Eduouard Cabay at the Dubai Expo 2020.19 This project scans the movements of the fingers weaving the Sadu knot and generating a weaving pattern by painting the curves on handmade carpets using 6-axis robotic arm. These re-define the meaning of craft in today’s context and with state-of-the-art technology. One can notice the craft of Sadu makingamongst (an ancient form of– weaving carpetstresses making)upon was implicit The versus explicit definition the Emirati two examples while Knitand Candela 19 This optimised by digital technologies like robotics by Eduouard Cabay at the Dubai Expo 2020. recombining the structural assets of craft and technology, ‘One to Ten’ publicises the potential of project scans the movements of the fingers weaving the Sadu knot and generating a weaving robust technology towards a tactile retransfer of the craft. pattern by painting the curves on handmade carpets using 6-axis robotic arm. These re-define the meaning of craft in today’s context and with state-of-the-art technology. One can notice the implicit As versus explicit definition amongstthe thebilateral two examples – whileon Knit Candela stresses upon one observes and understands developments aspects of craft as well as recombining the structural assets of craft and technology, Ten’ publicises the potential of technology through this comprehensive project, initially ‘One one to notices the opportunities to tap robust technology towards a tactile retransfer of the craft. potentials of a ‘stagnant craft’ in a complementary industry. Meanwhile, the novel computational power of the architectural industry negotiates these tendencies of the craft and develops a hybrid optimised system. However, when these digital logics are brought into physical reality, it is integral As one observes and understands bilateral on aspects of craftterms, as wellthe as to interrogate into the stakeholders thatthe define thesedevelopments individual systems, in normal technology throughthe this comprehensive project, initially one notices the opportunities to tap dynamics between human and the machine. potentials of a ‘stagnant craft’ in a complementary industry. Meanwhile, the novel computational power of the architectural industry negotiates these tendencies of the craft and develops a hybrid optimised system. However, when these digital logics are brought into physical reality, it is integral to interrogate into the stakeholders that define these individual systems, in normal terms, the dynamics between the human and the machine.

(Cabay n.d.)

fig 11. Plan of the anticlastic geometric shell.

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fig 12. Elevation of Knit Candela waffle concrete shell structure.

(Cabay n.d.)

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THE PERPETUAL QUESTION – THE HUMAN OR THE MACHINE? There is an important observation which is quite exclusive of the character of the craft, the question that can it be completely translated or documented with the digital tools especially its intangible nature. Given the time and logistics, manual craftsmen were strategically employed to recreateThere the tactile element observation of the concrete architectural expression the revitalization of is an important which is quite exclusive of thewhile character of the craft, the craft usingthat thecan digital CNC and further to develop novel inflated reflectstools uponespecially the analogy question it be completely translated or the documented withform the digital its 20 The question is of human body being the first tool and the continuous transition of technology. intangible nature. Given the time and logistics, manual craftsmen were strategically employed to about thethe competition or rather a balance between the human the machine of– recreate tactile element of thestriking concrete architectural expression while and the revitalization investigating use of technology where actionsthe arenovel not feasible humans. craft using thethe digital CNC and further to develop inflatedby form reflects upon the analogy of human body being the first tool and the continuous transition of technology.20 The question is about the competition or rather striking a balance between the human and the machine – In thethe project, the strategic deployment of manual machine also plays a key investigating use of technology where actions are not labour feasibleand by the humans. role in streamlining the complex process. At a singular prototype scale, it has been possible to manage the design-to-production process with both human-machine proportional division of labour. In However, when to larger contexts and other economies, it is essential develop the project, theapplied strategic deployment of manual labour and the machine also to plays a key 21 workflow for modularity and permanence. arole DFMA (Design for Manufacture and Assembly) in streamlining the complex process. At a singular prototype scale, it has been possible to manage the design-to-production process with both human-machine proportional division of labour. However, when applied to larger contexts and other economies, it is essential to develop 21 workflow it isManufacture critical to know far it addresses issues prevailing inand thepermanence. current industry. a DFMAHowever, (Design for andhow Assembly) for modularity Do these only have structural implications, or can they help the circular supply chain? For instance, can they embrace “the idea of recycling within it”? Given the fact that it displays a sustainable workflow and collaborative an appraisal for development aroundinthe of the However, it is criticalplatform, to know how far it addresses issues prevailing the properties current industry. craft andonly an have integrated geometry-structural one raisesupply a debate Do these structural implications, or candesign, they help thecan circular chain?of Forecological instance, intelligence versus “the technological innovation.

Questions can the be raised against the useaof concrete, can they embrace idea of recycling within it”? Given fact that it displays sustainable given its carbon footprint and the biodegradability of the PES – polyester fibre of the textile. workflow and collaborative platform, an appraisal for development around the properties of the craft and an integrated geometry-structural design, one can raise a debate of ecological intelligence versus technological innovation. Questions can be raised against the use of concrete, given its carbon footprint and the biodegradability of the PES – polyester fibre of the textile.

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fig 13. Process images of the minimal scaffolding used and free from ground foundations

(Colomina n.d.)

(ZHACODE n.d.)

(Colomina n.d.)

(ZHACODE n.d.)

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TACKLING THE CURRENT SCENARIO OF THE ARCHITECTURAL INDUSTRY The issue we face today: Global Ecological Crisis. With the focus on the industry today, the principles of Circular Economy - management of sources and wastes into a cyclic loop is the need of the hour. Technology can be applied in multitude formats to address these – from research focussing on modifying material properties to making informed policies based on AI powered feedback mechanisms.

Designers/makers need to delve into the idea of ‘temporality’ and ‘lifecycle’ of the built environment. Can “Design for the Circular Economy” develop a solution to address this issue with the plethora of digital and computation tools with applications across all economies? How can the potential from rich resources, say Crafts, from these economies be used as assets in this system?

These dynamics can be seen as a Venn diagram of aesthetic expression, structural performance, and economic flow in the broader fields of Craft, Technology and Architecture. The intersection of these three elements construes novel architectural systems that creates a social balance in a human centric design. How can these three spheres collaboratively bring forth this change? The answer could lay in the ‘digital’ tools at ‘hand’, the ‘computational mindset’ and the ‘complex’ collaborative workflow.

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fig 14. Hundreds of machines all over the world awaiting knitting instructions to venture into the digital world and unlease the potential of data!!

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LIST OF FIGURES

BIBLIOGRAPHY Figure 1.

Melbourne School of Design. n.d. “Philippe Block: Strength through Geometry.” https://www.youtube.com/watch?v=a4NJCuJ1geg.

01

Figure 2.

AA School of Architecture. n.d. “Reimagining Shell Structures - Philippe Block.” https://www.youtube.com/watch?v=vAavRx7uoeA.

02

Figure 3.

garciadelcastillo. n.d. ““Knitting for Architecture” | Guest Lecture by Dr. Mariana Popescu | Harvard GSD-6338” https://www.youtube.com/watch?v=RzN4c7lsFxk. 03

Figure 4.

Popescu, Mariana, Matthias Rippmann, Tom van Mele, and Philippe Block. n.d.

“Knitcandela challenging the construction, logistics, waste and economy of concrete-shell formworks.”

Figure 5.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom van Mele, and Philippe Block. 2021. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures 31 (June): 1287–99. https://doi.org/10.1016/j.istruc.2020.02.013. 07

Figure 6.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom van Mele, and Philippe Block. 2021. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures 31 (June): 1287–99. https://doi.org/10.1016/j.istruc.2020.02.013. 08

Figure 7.

garciadelcastillo. n.d. ““Knitting for Architecture” | Guest Lecture by Dr. Mariana Popescu | Harvard GSD-6338” https://www.youtube.com/watch?v=RzN4c7lsFxk. 10

Figure 8.

Melbourne School of Design. n.d. “Philippe Block: Strength through Geometry.” 11 https://www.youtube.com/watch?v=a4NJCuJ1geg.

Figure 9.

Popescu, Mariana, Matthias Rippmann, Tom van Mele, and Philippe Block. n.d.

“Knitcandela challenging the construction, logistics, waste and economy of concrete-shell formworks.”

Figure 10.

AEC Magazine. n.d. “Mariana Popescu // Block Research Group.” https://www.youtube.com/watch?v=vvogKEYZZCQ.

Figure 11.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom van Mele, and Philippe Block. 2021. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures 31 (June): 1287–99. https://doi.org/10.1016/j.istruc.2020.02.013. 15

Figure 12.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom van Mele, and Philippe Block. 2021. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures 31 (June): 1287–99. https://doi.org/10.1016/j.istruc.2020.02.013. 16

Figure 13.

Popescu, Mariana, Matthias Rippmann, Tom van Mele, and Philippe Block. n.d.

“Knitcandela challenging the construction, logistics, waste and economy of concrete-shell formworks.”

Figure 14.

AA School of Architecture. n.d. “Reimagining Shell Structures - Philippe Block.” https://www.youtube.com/watch?v=vAavRx7uoeA.

Figure 15.

garciadelcastillo. n.d. ““Knitting for Architecture” | Guest Lecture by Dr. Mariana Popescu | Harvard GSD-6338” https://www.youtube.com/watch?v=RzN4c7lsFxk. 23

BIBLIOGRAPHY Braungart , Michael , and William McDonough. n.d. "Chapter 6: Putting Eco effectiveness into Practice." In Cradle to Cradle: Remaking the Way We Make Things.

Cabay, Edouard. n.d. https://www.facebook.com/797140318/videos/483016336582027/.

Colomina, Wigley. n.d. Human Centered Design.

Driaenssens, S, P Block, D Veenendaal, and C Williams. 2014. "Shell structures for architecture: form finding and optimization."

Hauck, Anthony, and Michael Bergin. n.d. The Triumph of the Turnip. Autodesk.

Kallipoliti, Lydia. 2015. “Closed Worlds: The Rise and Fall of Dirty Physiology.” Architectural Theory Review 20 (1): 67–90. https://doi.org/10.1080/13264826.2015.1078385.

Kieran, Stephen, and James Timberlake. n.d. refabricating ARCHITECTURE - How Manufacturing Methodologies Are Poised to Transform Building Construction.

McCullough, Malcolm. n.d. "ABSTRACTING CRAFT:THE PRACTICED DIGITAL HAND." In Craft Reader.

Monchaux, De. n.d. "Chapter 14. Handmade." In Spacesuits Fashion Apollo.

Pallasmaa, Juhani. n.d. The Eyes of the Skin, Architecture and the Senses.

Popescu, Mariana. n.d. TedX Talks Youtube. https://www.youtube.com/watch?v=UfVKdjdGBxg. Popescu, Mariana, Matthias Rippmann, Tom Van Mele, and Philippe Block. 2020. "KNIT CANDELA Challenging the Construction, Logistics, Waste and Economy of Concrete Shell Formworks." In Fabricate 2020, by Bob Sheil, Jane Burry, Jenny Sabin and Marilena Skavara.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom van Mele, and Philippe Block. 2021. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures 31 (June): 1287–99. https://doi.org/10.1016/j.istruc.2020.02.013.

Scheurer, Fabian. n.d. “DIGITAL CRAFTSMANSHIP: FROM THINKING TO MODELING TO BUILDING-FABIAN SCHEURER.” ZHACODE. n.d. Digital Futures World Youtube. https://www.youtube.com/watch?v=hll38bSwmP8&list=PLtuu5idZ57EWmpdNlXl_4fPfOaiYAczE_ &index=16.

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fig 15. Technical + Aesthethic ‘double faced’ textile with channels to guide the cables; pockets and openings for inflatables.

MENTORS Ben Spong Nikoletta Karastathi

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Clara Jaschke Thomas Pearce

2021/22

Elin Lund Arthur Prior

BARC0061: Contextual Theory STUDENT NO. 20111292

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