Body: Conform | Morph by J u l i a S a r d u y F l u t y

BODY: ConforM | Morph Julia Sarduy | Masterâ&#x20AC;&#x2122;s Thesis

A Body in Motion

Response to Theory

Body vs Machine

06-07

Precedents

08-09

Concept

10-11

Body Analysis

12-13

Form Reveal

14-15

CNC- Milling

28-31

Floor Assembly

Exploded Axonometric

Finishes

34-35

Panel Assembly

16-17

Body as Code

36-37

Panel Axonometrics

CONTENTS

22-23

Body Conforming

Axonometric

38-39

A Functional Series

Mold Preparation

Pattern- Milling

40-41

Applications

42-47

A Body in Repose

24-25

Vacuum Forming

Section and Elevation

Acrylic Preparation

Plan and Elevation

Along the whole of this movement [in space] we can imagine possible stoppages; these are what we call the positions of the moving body, or the points by which it passes. But with these positions, even with an infinite number of them, we shall never make movement. They are not parts of the movement, they are so many snapshots of it; they are, one might say, only supposed stopping-places. The most we can say is that [the body passes through these points]. The points are not in the movement, as parts, nor even beneath it, as positions occupied by the moving body. They are simply projected by us under the movement, as so many places where a moving body, which by hopothesis does not stop, would be if it were to stop. They are not, therefore, properly speaking, positions, but â&#x20AC;&#x153;suppositionsâ&#x20AC;?, aspects, or points of view of the mind. It is movement that we must accustom ourselves to look upon as simplest and clearest, immobility being only the extreme limit of the slowing down of movement, a limit reached only perhaps, in through and never realized in nature. -Henri Bergson, The Creative Mind: An Introduction to Metaphysics.

GLASS CHAPEL- Rural Studio Repeated form with variable attachment locations. Same geometry generates variation in overall form.

04 04

BRASSERIE- Diller Scofidio + Renfo Surfaces curve to adjust to program. Variation of form guides activity in the space.

05 05

How can our minds establish the difference between what it is to feel and what it is to think?

How can we use computer code and machines to help us understand what it is to be?

How can a machined form based on numerical data fit the contours of the human body?

The curves of our body interact and engage with architecture in certain zones and are often limited by building standards. We only touch buildings within a narrow range that is easy to reach: door handles, counter tops, light switches all occur between 30” and 42” above the floor. Only rarely do buildings reach out to touch us, to offer their embrace. The body is usually forced upon a flat surface as it rests againts walls and floors. Major building components lack the warmth and understanding of the body. This is a wall system that draws on the forms of the human body as a generative design tool. The body’s motions and positions are replicated with computer software, power tools and machines guided by numerical data. The body is turned into a series of surfaces that allows the wall to not only respond to the human form but to also guide the body into various positions of action or repose. The body is embraced as it conforms to each of its exaggerated forms. The back is hugged and legs are traced, arms are supported and the head is craddled. The body gives in and is effortlessly guided through the wall panels. As it surrenders to the forces pulling it, it adjusts in response to each curving surface. The body is a site for architecture; spaces and forms can be generated by its contours. The intimacy between body and architecture is often decided by hard flat walls and uncomfortable resting surfaces. In this wall system, the body informs architecture, and architecture supports the body.

IN MOTION

10 10 1

IN REPOSE

The silouhettes of a body in repose and in motion are cast onto a surface. Body forms overlap and morph into a series of soft and sharp curves. Our anatomy allows us to move in such a large variety of ways, and the variation of all body types can generate an infinite amount of curves. These curves could each uniquely act as a tool for architecture.

A B

Surfaces curl and bend in a variety of motions to create a series of forms which conform to the body. A scalloping pattern generates pockets of space and tension in key points where the body pushes and pulls on the wall surface. The shadows of a moving body are traced and the profiles are used to generate a series of curved surfaces. Each form is labled, and a system of unique curves turns into a series of units. These are only a few of the hundreds of curve possibilities that can be extracted from just these shadow studies.

With the combination of Rhinoceros 5.0 and Rhino Cam, the body’s curves are converted into an extensive list of coordinates for the CNC router. Computer Numerical Control (CNC) is one in which the functions and motions of a machine tool are controlled by means of a prepared program containing coded alphanumeric data. A 1/2” Vee end mill spins through the polyisocyanurate as the CNC router reads the body’s code. 21 surfaces are milled, each with a unique bend, yet identical pattern.

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Z-0.4424 Z-0.4034 Z-0.3713 Z-0.3605 Z-0.3255 Z-0.3136 Z-0.2756 Z-0.2625 Z-0.2215 Z-0.2131 Z-0.2107 Z-0.2099 Z-0.2103 Z-0.2118 Z-0.2143 Z-0.2587 Z-0.2721 Z-0.3100 Z-0.3222 Z-0.3572 Z-0.3790 Z-0.4004 Z-0.4202 Z-0.4397 Z-0.4576 Z-0.4753 Z-0.5074 Z-0.5361 Z-0.5721

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Z-0.2103 Z-0.2118 Z-0.2143 Z-0.2587 Z-0.2721 Z-0.3100 Z-0.3222 Z-0.3572 Z-0.3790 Z-0.4004 Z-0.4202 Z-0.4397 Z-0.4576 Z-0.4753 Z-0.5074 Z-0.5361 Z-0.5721 Z-0.5886 Z-0.6047 Z-0.6196 Z-0.6340 Z-0.6540 Z-0.6719 Z-0.6777 Z-0.6933 Z-0.7027 Z-0.7117 Z-0.7196 Z-0.7273

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03 18 43 87 21 00 22 72 90 04 02 97 76 53 74 61 21 86 47 96 40 40 19 77 33 27 17 96 73 01

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Six hours of CNC milling later, a series of curves turn into three dimensional forms. Each mold will succumb to extremely high temperatures in preparation to accept its skin. The forms are coated with a heat-resistant, plaster layer so that the acrylic panels arise clean and transparent. They are further prepared for the vacuum former on the table saw with a 3/4â&#x20AC;? dado blade. This action creates grooves on the bottom side of each form so that the maximum amount of air can escape through the molds and into the vacuum. The forms are ready for their new skins.

Mortises are routed as the CNC endmill steps into the material. Panels A through F appear based on the previously milled polyisocyanurate forms. The 2D shapes are milled out of 3/4â&#x20AC;? Poplar plywood. Each unit has a unique pattern which corresponds to the forces of the bodyâ&#x20AC;&#x2122;s curves. As the form expands, the 3/4â&#x20AC;? slots separate in increments of an inch. As the curves fold inward, the pattern condenses. These openings will later accept spacers, panel stabilizers, and arm rests.

3/4" CNC milled Poplar plywood structural panel D

3/4" CNC milled Poplar plywood structural panel A 1/8" Vacuum formed acrylic panel A

3/4" CNC milled Poplar plywood structural panel B

#9 - 1" Vibration damping hex head screw

1/8" Vacuum formed acrylic panel D

3/4" CNC milled Poplar plywood structural panel F

#9 - 1" Vibration damping hex head screw 5'-11" 6'-4"

6'-4"

#9 - 1" Vibration damping hex head screw

5'-11"

3" Overlap and separation between acrylic panels

3/4" CNC milled Poplar plywood structural panel C

3/4" CNC milled Poplar plywood structural panel B

3" Overlap and separation between acrylic panels 1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails 1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

3/4" CNC milled Poplar plywood structural panel C 1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails

2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

4" 4"

1'-3"

10 1/2" 1 1/2"

Side Elevation Scale: 1” = 1’-0”

SIDE ELEVATION

9 1/2"

3 1/2"

9 1/2"

1"2"

SECTION AA

3/4" Poplar plywood floor. Attached to 2" X 4" pine framework with #8 1-1/4" drywall screws

1'-9" 1 1/2"

Section A A Scale: 1” = 1’-0”

1/2"

1/2" 1" 4"

3/4" Poplar plywood floor. Attached to 2" X 4" pine framework with #8 1-1/4" drywall screws

1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails

2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

PANEL A- Lean

PANEL B- Crouch

PANEL C- Press

PANEL D- Lay

PANEL E- Sit

PANEL D- Bend

The transparent material of the curved surfaces appear to press into the wooden framework suggesting the compressive force of the body onto architecture. These surfaces allow the wall to not only respond to the human form but to guide the body into various positions of action or repose. Three dimensional forms become the casework for thin transparent surfaces as plastic heats, expands and transforms. Vacuum forming is a process in which a sheet of warmed thermoplastic is shaped by placing it over a mold and applying suction. The CNC-milled polyisocyanurate is forced under the 4â&#x20AC;&#x2122;x4â&#x20AC;&#x2122; heated acrylic sheet as its form and pattern emerge on a new skin.

Each acrylic surface is detached from its mold and is revealed as an independent peice. The bodyâ&#x20AC;&#x2122;s thin curves are released from their original three dimensional forms. The panels are unique and therefore catagorized within their unit (Panel A through Panel F). The acrylic is cut evenly on the bandsaw and is smoothed in preparation for its assembly. The surfaces are arranged in sequence and attached to a wooden framework.

4'-1 1/2" 2'-5"

1'-7"

Panel C

Panel B

Panel E

Panel D

Panel F

4 1/2"

Panel A 1/8" Vacuum formed acrylic panel F

1'-4"

1'-0 1/2"

1'-4"

9 1/2"

3 1/2"

9 1/2"

1/2" Vacuum formed ridge spacing

3" Overlap and separation between acrylic panels

6'-4 1/2"

7'-5" 1" 1'-0 1/2" 1"

9 1/2" 3 1/2"

1" Spacing between acrylic panels

1" 1'-0 1/2"

1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails 1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails

3/4" Poplar plywood floor. Attached to 2" X 4" pine framework with #8 1-1/4" drywall screws 2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

10"

PLAN VIEW

3 1/2"

1/8" Vacuum formed acrylic panel A

3 1/2"

#9 - 1" Vibration damping hex head screw 1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

1'-0 1/2"

10"

3/4" X 1" Walnut dividing strip 1'-4"

1/8" Vacuum formed acrylic panel B

10"

1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails

#9 - 1" Vibration damping hex head screw

1/8" Vacuum formed acrylic panel A

3/4" CNC milled Poplar plywood structural panel 1/8" Vacuum formed acrylic panel C

1'-4"

10"

#9 - 1" Vibration damping hex head screw

1'-0 1/2" 1"

3 1/2"

1'-4"

1/8" Vacuum formed acrylic panel D

4 1/2"

10"

#9 - 1" Vibration damping hex head screw 1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

1/8" Vacuum formed acrylic panel E

10"

3/4" CNC milled Poplar plywood structural panel

3 1/2"

7'-5" 1'-0 1/2"

FRONT ELEVATION

The Maple milled for this floor system was taken from a discarded university basketball court floor. Now, the floor is a tool for the body to use to lean onto a series of vertical surfaces. It forces the body to fall onto the wall panels where it is accepted as it morphs and conforms. A floor is turned into a tool. The Maple is milled to 1/2â&#x20AC;? strips on the table saw and secured with galvanized steel nails to a framework that will accept the weight of the body. The 1/2â&#x20AC;? separation will match the pattern on the acrylic to blur the boundary between the vertical and horizontal axes.

The floor is prepared to accept the plywood panels. 3/4â&#x20AC;? mortises are carved out to receive their corresponding tenons. The Mapleâ&#x20AC;&#x2122;s jagged edges are trimmed square with a jigsaw and the undulating tilted pattern is revealed.

3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing and 6" extension 3/4" CNC milled Poplar plywood structural panel 3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing

3/4" Poplar plywood 4-1/4" tenon

1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

3/4" Poplar plywood frame for Maple cladding

2" X 4" Pine framework beneath Maple cladding. Attached to 3/4" Poplar plywood floor with #8 1-1/4" drywall screws.

1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails 3/4" mortise CNC milled onto 3/4" poplar plywood #9 - 1" Vibration damping hex head screw 1/8" Vacuum formed acrylic panel. Attached to 3/4" poplar plywood structural panels with #9 - 1" Vibration damping hex head screw

3/4" mortise CNC milled onto 3/4" poplar plywood

3/4" Poplar plywood floor. Attached to 2" X 4" pine framework with #8 1-1/4" drywall screws

2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

A belt sander smooths imperfections. Four hours of material removal later, flat surfaces are ready to accept the bodyâ&#x20AC;&#x2122;s weight. 80, 120 and 220 grit sand paper each play a role at different increments. The true Mapel color and pattern is highlighted with Tung Oil finish. The body will now effortlessly slide onto the wall panels as it leans and rests against them with the floorâ&#x20AC;&#x2122;s assistance.

Panels A through F are secured with compression as they hit the ground beneath the elevated floor. There are two of each form so that the acrylic surfaces are most stable. Each plastic panel is attached to key points on the plywood with vibration damping screws, revealing each group as a singular unit. The attachment points pertrude 1/8â&#x20AC;? so that a thin line of space separates the acrylic from the plywood. This delicate gesture accentuates the soft flow of each curve. Plywood spacers are added between the panels of each unit for increased strength and stability. The body is now able to lean, sit, and rest.

3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 3/4" Poplar plywood lateral reinforcement 3/4" CNC milled Poplar @ 4-1/4" spacing plywood structural panel 3/4" CNC milled Poplar 3/4" X 3/4" Attachment plywood structural panel point for vacuum formed acrylic 3/4"panel X 3/4" Attachment point for vacuum formed acrylic panel

3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing 3/4" Poplar plywood lateral reinforcement 3/4" CNC milled Poplar @ 7-1/4" spacing plywood structural panel 3/4" CNC milled Poplar 3/4" X 3/4" Attachment plywood structural panel point for vacuum formed acrylic 3/4"panel X 3/4" Attachment point for vacuum formed acrylic panel 1/8" Vacuum formed acrylic panel B-01 1/8" Vacuum formed acrylic panel B-01 3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing with 3/4" Poplar plywood 4" extension lateral reinforcement @ 7-1/4" spacing with 3/4" Poplar plywood 4" extension lateral reinforcement @ 7-1/4" spacing 3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing 1/8" Vacuum formed acrylic panel B-02 1/8" Vacuum formed acrylic panel B-02 3/4" Poplar plywood 4-1/4" tenon 3/4" Poplar plywood 1/8" Vacuum formed 4-1/4" tenon acrylic panel B-03 1/8" Vacuum formed acrylic panel B-03

1/8" Vacuum formed acrylic panel A-01 1/8" Vacuum formed acrylic panel A-01 3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 1/8" Vacuum formed

acrylic panel A-02 1/8" Vacuum formed acrylic panel A-02

3/4" Poplar plywood 4-1/4" tenon 3/4" Poplar plywood 1/8" Vacuum formed 4-1/4" tenon acrylic panel A-03 1/8" Vacuum formed acrylic panel A-03 1/8" Vacuum formed acrylic panel A-04 1/8" Vacuum formed acrylic panel A-04

PANEL A

3/4" CNC milled plywood structura 3/4 plyw 3/4" X 3/4" Attac point for v formed acrylic 3/

3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 3/4" Poplar plywood lateral reinforcement @ 4-1/4" spacing 1/8" Vacuum formed acrylic panel C-01 1/8" Vacuum formed acrylic panel C-01

1/8" Vacuum fo acrylic panel 1 3/4" Poplar pl lateral reinforc @ 7-1/4" s

1/8" Vacuum formed acrylic panel C-02 1/8" Vacuum formed acrylic panel C-02

1/8" Vacuum f acrylic pane

3/4" Poplar plywood 4-1/4" tenon 3/4" Poplar plywood 4-1/4" tenon 1/8" Vacuum formed acrylic panel C-03 1/8" Vacuum formed #9 - 1" Vibration acrylic panel C-03 damping hex head screw #9 - 1" Vibration damping hex head screw

1/8" Vacuum formed acrylic panel B-04 1/8" Vacuum formed acrylic panel B-04 #9 - 1" Vibration damping hex head screw #9 - 1" Vibration damping hex head screw

#9 - 1" Vibration damping hex head screw #9 - 1" Vibration damping hex head screw

3/4" Poplar pl lateral reinforc @ 7-1/4" s

PANEL B

3/4" Poplar pl 4-1/4"

#9 - 1" Vib damping he

1/8" Vacuum f acrylic pane

PANEL C

3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing

3/4"3/4" Poplar Poplar plywood plywood lateral lateral reinforcement reinforcement @ 4-1/4" @ 4-1/4" spacing spacing

3/4" CNC milled Poplar plywood structural panel

3/4"3/4" CNC milled Poplar CNC milled Poplar plywood structural panel plywood structural panel

3/4" X 3/4" Attachment point for vacuum formed acrylic panel

X 3/4" Attachment 3/4"3/4" X 3/4" Attachment point vacuum point for for vacuum formed acrylic panel formed acrylic panel

1/8" Vacuum formed acrylic panel D-01

Poplar plywood 3/4"3/4" Poplar plywood lateral reinforcement lateral reinforcement @ 4-1/4" spacing @ 4-1/4" spacing

3/4" Poplar plywood lateral reinforcement @ 7-1/4" spacing

Vacuum formed 1/8"1/8" Vacuum formed acrylic panel E-01 acrylic panel E-01 1/8" Vacuum formed acrylic panel D-02

Vacuum formed 1/8"1/8" Vacuum formed acrylic panel E-02 acrylic panel E-02

3/4" Poplar plywood 4-1/4" tenon

3/4"3/4" Poplar plywood Poplar plywood 4-1/4" tenon 4-1/4" tenon

#9 - 1" Vibration damping hex head screw

Vacuum formed 1/8"1/8" Vacuum formed acrylic panel E-03 acrylic panel E-03

1/8" Vacuum formed acrylic panel D-03

#9 #9 - 1"- Vibration 1" Vibration damping hexhex head damping head screw screw

PANEL D

PANEL E

3/4"3/4" Poplar Poplar plywood plywood lateral lateral reinforcement reinforcement @ 7-1/4" @ 7-1/4" spacing spacing

3/4"3/4" CNC milled Poplar CNC milled Poplar plywood structural panel plywood structural panel

X 3/4" Attachment 3/4"3/4" X 3/4" Attachment point vacuum point for for vacuum formed acrylic panel formed acrylic panel

Vacuum formed 1/8"1/8" Vacuum formed acrylic panel F-01 acrylic panel F-01 Poplar plywood 3/4"3/4" Poplar plywood lateral reinforcement lateral reinforcement @ 7-1/4" spacing @ 7-1/4" spacing 6" extension withwith 6" extension Vacuum formed 1/8"1/8" Vacuum formed acrylic panel F-02 acrylic panel F-02

Poplar plywood 3/4"3/4" Poplar plywood 4-1/4" tenon 4-1/4" tenon Vacuum formed 1/8"1/8" Vacuum formed acrylic panel F-03 acrylic panel F-03

1" Vibration #9 #9 - 1"- Vibration damping head damping hexhex head screw screw

PANEL F

3/4" CNC milled Poplar plywood structural panel A

1/8" Vacuum formed acrylic panel A 3/4" CNC milled Poplar plywood structural panel A #9 - 1" Vibration damping hex head screw

#9 - 1" Vibration damping hex head screw Insulation

4" Steel mullion

1/8" Vacuum formed acrylic panel A 1/4" Flat steel plate Panel to wall attachment

Low E Glass

2" X 4" wooden wall stud

1/4" Flat steel plate Panel to mullion attachment

3" #8 Drywall screw attaching steel plate to wooden wall stud

Low E Glass

Gypsum Board Vapor Retarder

1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

Precast Concrete Wall 1/2" X 1/2" Maple cladded onto 2" X 4" Pine frame. Attached to frame with 1"- 16 gauge nails

3/4" Poplar plywood floor. Attached to 2" X 4" pine framework with #8 1-1/4" drywall screws

1/4" Flat steel plate Panel to wall attachment

Insulating Spacer 2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

Glazing Tape 1/2" CNC milled Sande plywood attached to 3/4" Poplar plywood with 1" - 16 gauge nails

2" X 4" Pine framework beneath 3/4" poplar plywood floor. Attached with #8 2-1/4" drywall screws

SECTION DETAIL Attachment to Wall

SECTION DETAIL Attachment to Mullion

The wall system can be incorporated into architecture in a variety of ways. Each unit can be attached to the mullions of a glass building facade and can act as a second skin. In certain instances, the space between both skins can be occupied throughout the levels of the building so that the body can be engaged. It would appear as a screen with a subtly morphing pattern from afar, but at a close proximity it can embrace the body, even at this large scale. The system can also more intimately be applied to architecture in the interior of buildings. It can act as a resting area in airports, waiting lines, and homes as cladded members attached to studded walls.

Immobility is only the most extreme point in the movement of slowing down.

The body in repose occupies a series of points in space.

The body is always in motion, even during its moments at rest.

Relaxation is only an extremely slow movement through space.

Sensory experiences become integrated through the body, or rather, in the very constitution of the body and the human mode of being. Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other constantly. The percept of the body and the image of the world turn into one single continuous existential experience; there is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self... T he task of architecture is to make visible how the world touches us... -Juhani Pallasmaa, The Eyes of The Skin Our bodies are constanly moving as we travel and rest through spaces. The motions generated by our forms can be captured in a single moment of time and can be turned into useful data. We can analyze our unique curves and determine how they can be guides for resting. Our abstracted geometries can help us imagine all of the things we can be. Our bodies are a series of transparent acrylic panels, bent over machine milled plywood. They are objects in space and time that can conform to their surroundings. Our bodies are the sequence of coded coordinates that evolve from computer software and the combination of expanding and contracting slotted patterns. They are the undulating surface that lays elevated over the ground and leans towards a wall. Our bodies are thousands of curve combinations that can be replicated, exaggerated and transformed into architecture.