Digital Fabrication Portfolio

Digital Fabrication Portfolio Jeffrey Klynsma ARCH 433 | Shelby Doyle Spring 2019

Digital Fabrication Portfolio Jeffrey Klynsma ARCH 433 | Spring 2019 Shelby Doyle

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3D Printing & Mold Casting

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CNC Milling & Clay 3D Printing

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CNC Milling & Clay 3D Printing

CONTENTS Terminology | Beginning of Semester

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Terminology v2 | End of Semester

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Andrew Kudless Lecture Response

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3D Printing and Mold Casting At Iowa State University, the architectural design course “Digital Fabrication� challenges students to implement relatively new technologies as design tools for exploring real-world applications. Assignment 1 tasks the student with creating 3D printed molds for casting Rockite.

Entering into this project unfamiliar with 3D printing, I set out to challenge myself with a complex design to iterate and explore the capabilities and limitations of 3D printing. I had entered in assuming that 3D printing would be highly precise - much like laser cutting, which I was already familiar with - but exploration of this method would prove otherwise.

developed a form that, when stacked in an inverted fashion, would begin to resemble a framed sphere.

Throughout the iterative process, I learned that 3D printing produces within a greater tolerance than what I was used to and expecting, meaning that the tight joints I initially designed to hold the molds together did not fit together as planned. I also learned more about the strengths and limitations of casting with Rockite, particularly in thicknesses and material strength, as well as creating a tightly sealed mold while simultaneously planning for its removal.

Initially, the icosahedron seemed to be a compelling and interesting form, and the concept of creating a 3D frame module interested me, especially in its capacity to distribute forces, minimize weight, and add visual depth. As I worked through the concept, creating an icosahedronic frame seemed to be overly complex with a lesser payoff, so, inspired by the triangulation of the icosahedron, I

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Iteration 1.1, 1.2 Goals: • Explore possibilities and limitations of 3D printing.

• Develop self-interlocking mold Successes/Failures: • The model was designed so the corners would perfectly interlock, but the tolerances of 3D printing made the pieces to large to join together.

• Faces printed directly onto plate warped during early stages, creating additional voids that will disrupt the casting.

• The “key” element designed to lock the top and bottom plates in place were not properly designed; that is, the key locks into the center mass, but not the top.

Lessons Learned: • 3D print allows greater tolerances than other technologies, such as laser cutting, so these greater tolerances should be designed in • Make sure the pieces work like you expect in model

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Iteration 2.1 Goals: • Explore possibilities and limitations of 3D printing and casting.

• Improve self-interlocking mold based on past failures.

Changes made: • Interlocking corner dimensions were decreased to allow joints to overlap • Top and bottom plates were adjusted to provide surface area for the key to lock into the center void.

Successes/Failures: • The mold joint sizes were decreased too much, and the corners did not hold themselves in place.

• Gaps between the mold filled with Rockite, resulting in an improper cast.

• The thickness of the design was too thin for the material, and the cast came out in shambles.

• Mold pieces difficult to remove due to expansion of Rockite and minimal graspable area.

Lessons Learned: • Rockite requires greater thickness to support itself.

• Joints that require tight intersections don’t work well, unless greatly calibrated.

• Rockite seeps into any crevice, so the mold should be planned to prevent/ accommodate this.

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Iteration 2.2 Goals: • Explore possibilities and limitations of 3D printing and casting.

• Improve self-interlocking mold based on past failures.

Changes made: • Interlocking corner dimensions were decreased to allow joints to overlap • Top and bottom plates were adjusted to provide surface area for the key to lock into the center void.

• A notch was added in the vertical elements to provide added lateral support.

Successes/Failures: • The mold joint sizes were decreased too much, and the corners did not hold themselves in place.

• Gaps between the mold filled with Rockite, resulting in an improper cast.

• The thickness of the design was too thin for the material, and the cast came out in shambles.

• Mold pieces difficult to remove due to expansion of Rockite and minimal graspable area Lessons Learned: • Rockite requires greater thickness to support itself.

• Joints that require tight intersections don’t work well, unless greatly calibrated.

• Rockite seeps into any crevice, so the mold should be planned to prevent/ accommodate this.

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Iteration 3 Goals: • Explore possibilities and limitations of 3D printing and casting.

• Improve self-interlocking mold based on past failures.

Changes made: • Thickness increased for added cast strength.

• Mold adjusted to hold pieces together better and make pieces easier to remove.

Successes/Failures: • Increased thickness helped improve cast strength and minimized breaking.

• Intersection of horizontal molds with center mold made horizontal molds difficult to remove, and center mold impossible to remove before horizontal.

• Parallel edges of horizontal molds made removal extremely difficult, and ultimately broke both the mold and the cast.

• Imperfections in molds resulted in leaking during pouring.

Lessons Learned: • Void edges should be tapered to make removal easier.

• Planning the removal of mold pieces is just as important as planning their assembly.

• Many pieces makes mold prone to leaking. Minimal pieces should be used, or cracks should be adequately sealed.

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Iteration 4 (Final #1) Goals: • Explore possibilities and limitations of 3D printing and casting.

• Improve self-interlocking mold based on past failures.

Changes made: • Molds adjusted to make removal easier.

Successes/Failures: • Tapered mold edges made removal easier.

• Stepping intersection of horizontal void (instead of concave/convex elements) plus adding a hammer head made center void removal easier, which also made horizontal void removal easier • Mold still had a lot of cracks, which Rockite seeped into and leaked out of.

• Many mold pieces increases assembly difficulty and makes removal tedious.

• Small pieces have limited durability Lessons Learned: • For this version, all mold cracks should be properly sealed before pouring.

• Molds with many pieces inherently require more time for assembly and removal.

• Casting with 3D prints is better suited for solid masses rather than objects with many voids.

• Using less mold pieces increases efficiency of casting, and larger mold pieces limits the amount of pieces that can break or cracks that can leak.

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Iteration 4 (Final #2) Goals: • Explore possibilities and limitations of 3D printing and casting.

• Improve self-interlocking mold based on past failures.

Changes made: • Molds adjusted to make removal easier.

• Form iterated to include double-curved, self-interlocking surfaces.

Successes/Failures: • Tapered mold edges made removal easier.

• Initial prints for this iteration had to be adjusted to print on a flat surface while the interior surface curves.

• Double-curved surfaces provide added lateral stability.

• Did not create additional molds for bottom pieces to rest on a flat surface.

• The mix for the first cast was mixed to watery, resulting in a soft cast.

Lessons Learned: • Double-curved surfaces work well to interlock pieces, but extra molds need to be made to rest on the ground firmly.

• Double-curved surfaces provided lateral stability and visual interest, but are restricted to a specific laying direction/ orientation.

• Learned proper mixture of Rockite for fluid pouring and firm curing.

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CNC-Milling & Clay 3D-Printing At Iowa State University, the architectural design course “Digital Fabrication” challenges students to implement relatively new technologies as design tools for exploring real-world applications. Assignment 2 tasks the student with two objectives: to create a 6 inch by 6 inch CNC-milled foam “slump mold”, coordinated with adjacent classmates on a 2 foot by 2 foot grid; and to drape a 6 inch by 6 inch, parametrically designed, 3D-printed, clay mesh panel over the slump mold. The clay mesh is bone dried while draped over the slump mold, then baked in a kiln.

The design process included three phases, including the slump mold design, the clay print design, and the actual slumping and firing process. During the slump mold design, I sought to explore the capabilities of CNC-milling. I thus incorporated both undulating and flat surfaces, and curved and cornered edges into my surface’s design. The only fault in this process was an uncertainty in the Z-height, resulting in a slightly shorter-than-intended slump height.

and density parameters. For the curve, I graphed a sine summation - that is, a sine curve applied on a sine curve and adjusted the intensity to achieve the desired curvature. I additionally planned for the thickness to be extruded at a thick (and thereby stronger) 5 millimeters wide, and for the density to be spaced 10 millimeters on center, resulting in a 5 millimeter wide spacing. The script produced a G-code, which was then exported as input for the Potterbot clay 3D-printer.

The G-code was then 3D-printed, and the clay print was draped over the slump mold and left to bone dry (dry by air).

The bone-dried, slumped mesh was then carefully transported and baked in a kiln, resulting in the final product.

Ultimately, in this assignment, I saw my initial preconceptions of these processes work out about how I expected or better.

The CNC-milling was quite impressive to me for its smoothness and accuracy.

Meanwhile, the 3D printed clay printed quicker than I imagined, and the 5 mm thickness seems to have been sufficiently To design the 3D clay print, I manipulated strong, as the mesh did not break at any an existing Grasshopper for Rhino script, time during the process. which produces a grid following a graph mapper and controlled by intensity

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The tiles developed in this assignment are inherently porous, and the process allows for a lot of variability. As a result, these tiles would be difficult to apply as an enclosed facade, but perhaps would make an excellent screening device. The variability through the process - such as the z-thickness, clay color, and malleability of the clay - allows for individual panels to be unique from one another, even if the design and process are exactly the same. Such a tile could be applied as a shading device over windows, or perhaps a visually pleasing screen for a parking garage.

Through this project, I was able to learn a little bit more about new technologies and about material I was previously less familiar with. I learned that the CNC machines have a certain tolerance, and should thus be allowed a certain amount of flex room and should not be pushed to the limits. Furthermore, I was able to experience the material qualities of clay firsthand, witnessing how the

mixture was colored and prepared and observing how the material behaves during the wet printing process, the bone-drying process, and the baking process. Ultimately, I was able to explore technologies and processes that are still in their early stages of development.

If I were to go back through this project again, I’d be interested to push the limits of both the CNCing and clay printing processes. I would want to iterate on the CNC surface, both in a simplified version to test how specific curved or bent surfaces interact with the clay mesh, and in a complex version to push the boundaries of what may be possible.

I would additionally want to test the limitations of the clay printing process to see how thin of an extrusion would still be structurally stable and to test a variety of densities. Ultimately, I would seek to explore the material qualities of the various techniques even further.

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Plasma CNC and Extruder At Iowa State University, the architectural design course “Digital Fabrication� challenges students to implement relatively new technologies as design tools for exploring real-world applications. Assignment 3 tasks the student with creating a plasma CNC die to extrude clay through using a manual lever extruder.

The first of the 3 phases utilized a Grasshopper script to create the extrusion die. The script allows the user to manipulate the number of sides and the shape of the extrusion. The shape is then offset inwards to create the piece which would cause the extrusion to be hollow. The final output of the script is 2 dimensional lines, which are exported as vectors to cut out of metal using a plasma CNC. The first design was a manually created, triangulated parallelogram shape, which was intended to tile on a triangulated grid. Curved edges add an extra layer of complexity to the shape. The shape did not tile as well as expected, however.

The second design took a simplified

approach, using the Grasshopper script to create an 8-sided star, where the points alternated between concave and convex.

After the 2D vectors were exported and cut by the plasma CNC, the resulting dies were installed into the manual hand extruder for the second phase. This process involves manually compacting clay into a metal tube, which holds the die at the bottom. Once the clay is compacted, a lever is used to press the clay down the tube through the extruder.

Once the desired length is reached, a wire is used to cleanly cut off the extrusion.

After the extrusions have set for a couple hours, they are firm enough yet soft enough for phase three: cutting the extrusions to the desired angle. Both iterations were cut at such angles that the tops and bottoms of each cut with land at 1/8, 3/8, 5/8, or 7/8 the overall length. This would allow the tops and bottoms of each cut to consistently align with other pieces. Once the cut extrusions were bone-dried, they were sent to the kiln for firing.

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The plasma CNC die (version 1) is loaded into the manual extruder and locked into place at the bottom of the extrusion tube.

Once the clay has been compacted into the black tube, the lever press extrudes the clay through the die installation above.

The clay is forced through the die as the lever is pushed down. The extrusion can be pressed to whatever length is desired before being cut.

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The extrusions are cut to length and carefully laid out to begin hardening before being cut.

Using a jig and a hand-tightened wire, the extrusions are cut to the desired angle. The cuts were planned so that each end could be used, minimizing waste.

The extrusions are left out to bone-dry. The smallest pieces show the waste leftover from cutting each whole extrusion to the same length. The remaining pieces are all usable.

Left is version 1, right is version 2.

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Digital Modeling Terminology Jeffrey Klynsma In a young and growing technological world, author David Stasiuk sees value in differentiating and defining new, digital design methodologies and approaches. Stasiuk writes “Design Modeling Terminology” to engage this conversation, distinctly defining parametric, computational, and generative design models as levels of procedural modeling.

algorithmically and recursively transform and mutate data to rapidly produce many iterations which may otherwise take much time to manually produce.

Therefore, Stasiuk argues that parametric, computational, and generative modeling are all increasingly complex levels on the spectrum of procedural modeling.

According to Stasiuk, “procedural modeling” is the topic of discussion and the broad subject from which each of the remaining terms branch, defined as an “explicit instruction set to produce a model outcome.” This process integrates a combination of first-order and second-order modeling techniques to produce an output defined by a series of rules, definitions, or goals, where firstorder refers to the direct interaction with and physical manipulation of model components and second-order refers to the direct manipulation of an instruction set.

sufficiently covered over each of these definitions, and Stasiuk seems to agree as he explains that computational and generative modeling are refined branches stemming out of parametric modeling. However, my previous understanding of parametric modeling was broad and vague – I knew there were distinctions which Stasiuk has defined as computational and generative modeling without knowing there were more refined terms to refer to these.

Respectively, “parametric modeling” may then refer to a more simplistic application of this technique, implementing “a set of equations that express a geometric model as explicit functions of a number of parameters.”

“Computational modeling” begins to produce new information to be used as input data, transforming one type of data into another rather than simply translating or adjusting input information; this method still requires the manual adjustment of formulas to produce various iterations. Finally, Stasiuk defines “generative modeling” as meeting the same requirements of computational modeling with the added capacity to 29 | Introduction to Digital Fabrication

Keywords procedural modeling parametric modeling computational modeling generative modeling first-order modeling second-order modeling

Position “Greater specificity of terminology becomes In my own previous understanding, the necessary when addressing more specific and term parametric modeling has quite complex methodology.”

As methods of design continue to grow and evolve to integrate more procedural modeling methodology, the distinction of definitions will become correspondingly important – for speaking of the simpler functions of parametric modeling is radically different than speaking of the complex, algorithmic functions of generative modeling. Greater specificity of terminology becomes necessary when addressing more specific and complex methodology.

Therefore, utilizing the precise terminology will become increasingly important to the digital production applications of architecture and digital fabrication as procedural modeling techniques continue to become more developed and integrated into the norm of the design process.

Procedural Modeling

Inputting and applying information into a set of rules that defines and produces a designed model Example 1 CG Architecture, City Development http://www.cityinabottle.org/blog/proceduralarchitecture/ Example 2 Michael Schwarz, Esri R&D Center Zurich http://research.michael-schwarz.com/publ/2015/ cgapp/

Parametric Modeling

Directly, manually inputting information into corresponding definitions which translates data in the output model Example 1 Elbphilharmonie Auditorium, Hamburg h t t p s : / / w w w. a r c h d a i l y. c o m / 8 0 5 5 6 7 / t h e parametric-process-behind-the-hamburgelbphilharmonies-auditorium Example 2 Sstudiomm, Damavand https://www.archdaily.com/791588/diy-forarchitects-this-parametric-brick-facade-was-builtusing-traditional-craft-techniques

Computational Modeling

Directly, manually inputting information into defined functions, transforming existing data to produce new information for further input or for a desired output model Example 1 Gridshell, Mannheim h t t p : / / w w w. w o o d d e s i g n a n d b u i l d i n g . c o m / computational-design-timber/ Example 2 “Thallus�, Milan https://www.designboom.com/design/zahahadid-architects-thallus-sculpture-milan-designweek-2017-04-06-2017/

Generative Modeling

Defining a set of rules, instructions, and goals to be algorithmically and recursively processed, mutated, and formed to produce a wide variety of heavily processed outputs Example 1 Autodesk Office @ MaRS, Toronto https://www.autodeskresearch.com/projects/ autodesk-mars Example 2 Voxman School of Music, Iowa https://www.autodesk.com/redshift/generativedesign-architecture/

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Digital Modeling Terminology v2 Jeffrey Klynsma Over the past couple decades, new technologies have radically impacted design and fabrication methods. The emergence of the Digital Age has caused a shift from traditional, manual methods of design and production to innovative, digital design processes. New techniques in increasing intensities are being practiced, resulting in a spectrum of digital applications.

In his paper “Design Modeling Terminology,” David Stasiuk elaborates on the spectrum of procedural modeling, distinguishing between various intensities of this par ticular modeling method. He par ticularly contrasts procedural modeling as a second-order (directly manipulated instruction set)) model-designing method with digital drawing as a firstorder (directly deployed command sequence) modeldesigning process. Parametric, computational, and generative are defined as increasing intensities on the spectrum of procedural modeling.

While the unique terminologies are useful when distinguishing and evaluating the spectral intensity of procedural modeling, the distinctions do not currently seem par ticularly critical. As the definitions currently stand, each term can accurately describe itself AND greater intensities, (i.e. a generative model is always parametric) but can NOT accurately describe lesser intensities (i.e. a parametric model is NOT always 31 | Introduction to Digital Fabrication

generative). Additionally, Stasiuk writes, “At some point, then, a model makes the jump from being purely parametric to exhibiting computational functionality.

However, locating the par ticular moment or reason for this shift in the design model’s epistemological makeup may present a problem.”

The terms seem more as a gradient, then, rather than as distinctly unique. As procedural modeling methods become more widely implemented over the next few decades, the distinct definitions may grow increasingly impor tant, respectively. For now, however, utilizing the more general terms – that is, procedural and parametric – seems appropriately sufficient.

Keywords procedural modeling parametric modeling computational modeling generative modeling first-order modeling second-order modeling Position “As procedural modeling methods become more widely implemented over the next few decades, the distinct definitions may grow increasingly important, respectively.”

Procedural Modeling

The use of a particular procedure or series of steps, instructions, or rules to transform input information into new or manipulated information Example 1 CG Architecture, City Development http://www.cityinabottle.org/blog/proceduralarchitecture/ Example 2 Michael Schwarz, Esri R&D Center Zurich http://research.michael-schwarz.com/publ/2015/ cgapp/

Parametric Modeling

Inputting information into a series of parameters or functions to translate information and produce a geometry (information translation) Example 1 Elbphilharmonie Auditorium, Hamburg h t t p s : / / w w w. a r c h d a i l y. c o m / 8 0 5 5 6 7 / t h e parametric-process-behind-the-hamburgelbphilharmonies-auditorium Example 2 Sstudiomm, Damavand https://www.archdaily.com/791588/diy-forarchitects-this-parametric-brick-facade-was-builtusing-traditional-craft-techniques

Computational Modeling

Inputting data to be calculated, manipulated, and/or transformed to produce new, designed geometries (information transformation) Example 1 Gridshell, Mannheim h t t p : / / w w w. w o o d d e s i g n a n d b u i l d i n g . c o m / computational-design-timber/ Example 2 “Thallus�, Milan https://www.designboom.com/design/zahahadid-architects-thallus-sculpture-milan-designweek-2017-04-06-2017/

Generative Modeling

Inputting information to be repetitively or automatically calculated and processed through an algorithm or series of rules to generate a variety of entirely new and unique geometries (information mutation) Example 1 Autodesk Office @ MaRS, Toronto https://www.autodeskresearch.com/projects/ autodesk-mars Example 2 Voxman School of Music, Iowa https://www.autodesk.com/redshift/generativedesign-architecture/

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Morphophytes | Andrew Kudless Reflection | Jeffrey Klynsma

I was very interested in Kudless’s approach to digital fabrication as more of a Post-Digital method of design than a heavily digital design. Typically, when I have thought of digital design and fabrication, I have thought of algorithmheavy digital models and scripts which can rapidly produce hundreds of digital iterations. Yet, Kudless had a way of moving between the digital and the physical that I had not seen before, implementing both algorithmic scripting software and physical construction techniques.

Kudless’s 2013 project P_Wall in Orleans, France, is a good example of this. This relatively smaller scale project integrated physical explorations with the digital iterating of Grasshopper and Kangaroo, not relying too heavily on the physical or the digital, but rather meshing these methods together. Kudless had described his approach to design as a “relationship between form, performance, and

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material,” explaining how he designs back and forth between the digital and physical in an iterative process.

To me, Kudless’s work is a refined integration of analogue methods of exploration (such as modelling or drawing) back into what has become a digitally-dependent culture. As stated before, I previously had this view of digital fabrication as a digitally-reliant means of production which rejects analogue craft, and Kudless’s work expresses to me that this is not true.

Rather, digital fabrication is instead the combination of both digital expertise and analogue craft as integrated methods of design exploration. As one who simultaneously values physical craft and enjoys designing digitally, I believe this refined approach to digital fabrication as the integration of these two typologies will prove, as Kudless’s work has, to be an effective design strategy for me as I become an architect in the 21st century.

Kudless, Andrew. “P_Wall (2013).” Matsys, Format, www.matsys.design/p_wall-2013.

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