HLX 1.th project of Master studies

is more than just a design; it is a Robot-constructed sytem that can take endless forms and proportions to serve various architectural purposes.

Project members arayess, elias jalali, mahyar kahwaji, kaf korn, michael lipphardt, monty shahparast, masoumeh

02

03

‘Robotic Additive Manufacturing’ is a project whose goal is to explore the architectural possibilities of Computer-programmed and Robot-constructed designs, notably with the proposed materials: Willow withes and veneer stripes.

Other Seminars, like ‘Computational Design’, ‘Robot Assembly’ and ‘Tool Design’, were given to gain additional knowledge about the large spectrum of the entire fabrication process. During this semester, our group developed HLX. It is more than just a design; it is a Robot-constructed system that can take endless forms and proportions to serve various architectural purposes.

The system composed of cores and intermediate waves can be a structural module, a column, furniture, a lamp, and much more.

In this reader we will develop the entire process that led to the creation of HLX, from the creative process to its fabrication and eventually its deeper development in the future.

04

PHASE I: CREATIVE PROCESS CHALLENGE BRAINSTORMING MATERIAL PROTOTYPES CONCEPT SYSTEM THE CORES THE WAVES VARIATIONS

06 06 07 07-09 10-11 12-13 14-15 16-17 18-21

PHASE 2: PROGRAMMING PROCESS DIGITAL CONSTUCTION OF OUR MODEL PARAMETRICAL APPROACH TECHNICAL ADJUSTMENTS ROLL & ADAPTERS INNER CORE SINE WAVES OUTER CORE

22-23 22-23 24-25 24-25 26-27 28-29 30-31

PHASE 3: FURTHER DEVELOPMENT JUNCTION MULTIPLE USE IDEAS RENDERS

32-33 32-33 32-33 34-43

Content

05

PHASE I: CREATIVE PROCESS

06

CHALLENGE

BRAINSTORMING

When our group was first introduced to the goals of this studio project, we were facing a double challenge: Since we all had no previous knowledge of Computational design methods, the proposed softwares and any experience with Robots, our first challenge was obviously to acquire knowledge in creating designs using Rhino and Grasshopper, programming them using Robot Components, Robot Studio and the Robot itself; a fascinating and overwhelming field that offers countless opportunities, but also is of a considerable difficulty. The second challenge, however, is one we had set ourselves: After the first presentation and after being given multiple examples, we were told we had two different techniques as a choice to work with. On one hand, spatial printing, using a planar surface to create 3D patterns, platforms and faces. On the other hand, the assistance of a rotational axis to create design based on radial rotation, like columns for example. Our idea, was then to merge these 2 methods by creating a design whose development would require both spatial printing and rotational axis.

And so began our journey in this new field, including long brainstorm sessions and experimentation.

In addition to merging the 2 available methods, our brainstorming was oriented towards the design we wanted to come up with, its function, its fabrication and its presentation. Influenced by the examples we were shown, our first ideas went in diverging directions: a Modular bridge, an organic-looking pavilion, a couch,… This was until decided it would be exciting to design something that could be manufactures on 1:1 scale, something that could be utilized directly after being constructed, something that wouldn’t require additional assembly after robot-winding. That’s how we united over the idea of a lamp: it relatively offers aesthetic flexibility, but most importantly can be entirely manufactured on real-scale and used to fulfil its function right away.

The wood veneer was provided by Heitz Furnierkanten.

MATERIAL Regarding the choice of material, we were also facing 2 choices: Willow and veneer. After experimenting with both on the first handbuilt prototypes, we unanimously opted for the 24mm veneer for the following reasons: 1. Its width and proportions offer more possibilities design-wise and is more ade quate for the model we had in mind, especially when it comes to its scale.

2. Willow looked stiff and complicated to work with, since it additionally requi red previous treatment before being used. Veneer in comparison was way cleaner and ready to use.

3. Not much had already been done with this new material. We were therefore curious to experiment with something new.

PROTOTYPES Numerous ideas saw the light before adopting our last model. Veneer stripes were used to create multiples ideas for a potential robot-constructed lamp. They looked very different, but somehow followed a successive logic that led to the creation of the last one.

07

08

1. The association of a fixed core created from vertical stripes and rings. Over it, a flexible layer built from striped of various lengths that give a fluid and organic feel.

3. An evolution of the previous model, where the rings are attached to the inner core and aren’t adjustable anymore. The outer waves are now fixed and the model more consistent.

2. The same principle as the previous prototype, but instead of having a free-moving outer layer, we placed adjustable rings that give it more rigidity and stability, while still preserving the freedom to choose the desired outer shape.

4. A blending of the 3 previous ideas: Parametrical variability instead of random organic flexibility, stable cores based on intersections instead of vertical stripes and the previously outer layer serves as intermediate waves that brings the cores together.

09

1. Parametrical Variability The model is based on multiple interconnected parameters that can vary in function of each others and according to the desired function.

Whether it’s the number of Helixes, their pitch, the frequency of the waves, the number of layers or the total length, the system can take endless

2. Modulability The model should not only be an independent object, as it should serve as many purposes as possible. For this reason, it was important to develop elements that would let it be something that can be assembled and become part of something bigger, thanks to connection joints.

CONCEPT The more we developed systems and prototypes, the more our vision became clear. We were progressively gaining awareness about the challenges we were to face. After adopting the last prototype, we set the following points as a concept to stick to.

3. Stability The model should mainly have the function to hold itself. Were it to be a column or a pavilion’s module or even a lamp, it should be designed in a way to hold itself and have its forces spread evenly to obtain maximal strength and stability.

4. Aesthetic Purpose The model should not only serve its purpose and be modulable and strong, but it should also be pleasing to the eye. Form follows function indeed, but if it were to be used as a lamp or a decorative object, it is imperative that the model should be aesthetic. The system, with its variable parameters, offers the chance to develop visual variations, something to be developed in detail

5. Polyvalent Use on Multiple scales Offering the possibility to be endlessly developable longitudinally and laterally, the model can take any dimensions. It could be therefore manufactures on a small scale as an object, on a medium scale as a furniture, and on a large scale a structural element.

10

11

SYSTEM Following the primary brainstorm process, in addition to defining our challenges and parameters to take into consideration, we adopted an analytical approach on the last prototype we had developed to finalize our design, so we can move on to the programming phase then to the manufacturing. The analytical approach consisted in understanding how our model works, what are the components that create it , how they interact , how they can be developed and most importantly, how could the robot construct it. Many questions but one conclusion. The result wasn’t the creation of a design, but one of a system: A geometrical system with interdependent parameters and algorithmic variations.

The system consists of a superposition of two consecutive patterns, with intersection points as connection areas to obtain maximal strength and stability and convey a visual order. The beauty of it resides in its intriguing yet clear lecture, for it is not only something that works, but also something that can be read and understood.

The pattern can be endlessly repeated longitudinally and laterally to create something that can be both visually appealing and structurally solid. And so, we remained faithful to our vision of a modulable and variable design that can offer countless possibilities.

After gaining understanding of the parameters that composed our model and the parameters that defined it, we have hand-built a mockup model on real scale with the 24mm veneer with a very attentive and analytical eye, as we were trying to replicate the movement the rotational axis and robot’s end-effector would simultaneously do while construction. The following experience made us aware that there are countless parameters to take into consideration in the programming phase.

The above-mentioned Patterns are as following:

12

13

1.The cores: Diametrically opposed Helixes who intersect in a series of aligned points. Each Helix is complemented with another one rotating in the opposite direction with the same pitch, to obtain a regular interval between each intersection. The standard model is composed of four helixes, even though this number can vary in function of the required strength and the desired aesthetic outcome of the core.

14

15

2.The waves: a series of Sine waves whose tangents land on the intersection points of the inner core from one side and on the intersection points of the outer core from another, playing the role of an intermediate layer defining the distance between a core and another. Their number varies in function of the intersection points created by the core, thus by the number of Helixes.

16

17

18

1. The offset distance between the inner and the outer core.

3. The direction of the outer core’s helixes

2. The total number of layers.

4. The number of veneer stripes composing the Helixes

19

20

5. Wave’s intensity evolves in mountain shape to give a convex impression

7. The base of the system is square instead of circular

6. Wave’s intensity evolves in valley shape to give concave impression

8. The base of the system is triangular instead of circular

21

PHASE 2: PROGRAMMING PROCESS DIGITAL CONSTUCTION OF OUR MODEL For no one of us had previous experience with Grasshopper and Rhino, it was challenging yet very enriching process for us. As some group members attended the Robotic Assembly seminar, others watched online tutorials, and others learned from the Assistants’ feedback and advices.

Thanks for that, we have learned a lot regarding the matter and have been able to accomplish the digital generation of the system we had in mind.

The first approach we had when building the Core was very mathematical. For the Helixes, we used the interpolation of countless points to create a spiral, For the waves, we used the mathematical formula of the sine waves and manually played with the parameters to have the intersection coinciding.

The method was approximate and lacked exactitude, as problems started surfacing before we were even able to construct the outer core. We also realized that, to remain faithful to our vision of something parametrically modifiable, we had to have interdependent and clearly defined parameters.

We have been able to achieve what we wanted by using Grasshopper’s trigonometry tools to define the helixes and their relative rotations and the CCX tool to obtain a list of intersection points.

After doing so for the inner and outer cores, we have constructed the intermediate sine waves after reorganizing the order of the intersection points using Python and applying the Weave component to create the waves in-between.

PARAMETRICAL APPROACH This construction method has helped us creating an interdependent system with clearly-defined variable parameters. The next phase was to define and calculate the parameters we would then need for the robot manufacturing. The illustrations below clearly show these values and how they were generated 22

23

TECHNICAL ADJUSTMENTS

ROLL & ADAPTERS As previously mentioned, the inner core diameter (D) has a variable value that can be defined by choice. As we had set the Total length (L) to a standard 1-meter length, we have scaled the diameter (D) accordingly to 100mm to obtain a balanced visual outcome and logical proportions (1: 10). In order to find ourselves able to wind a 110mm-core with a thinner rotational axis roll, we faced the challenge of developing a new adequate roll with adapters that would hold it to the existing mechanism, while still obtaining a maximal accuracy and clean rotation movement.

For the hand built-model, we had used Carton-rolls left from printing paper rolls, but for the robot manufacturing, we needed a more robust material that wouldn’t bend in the center, so we could have a regular straight line during both the winding and spatial printing processes. Consequently, we adopted the idea of a PVC roll that we would then cut from the edges. The only available diameter close to 100mm was 110mm wide, so we had to design the adapters accordingly.

Thanks to our group members who were taking the Tool Design Seminar, designing the required adapters was a relatively simple task, for they already built some experience with fusion 360 and 3D-printing softwares. What we developed is the following elements: 1. A junction disc that would be screwed to the rotational wooden disc from the motor’s direction according to the already-defined screwing holes from one side and screwed through an extruded plug perpendicularly to the tangents of the pipe from the other.

2. The same plug system from the first element that penetrates the pipe and leaves a 15mm thick cylindrical surface for the screws to be placed perpendicularly to the tangents.

3. A cone-looking element that would be juxtaposed to the previous elements with larger screws and would hold the entire roll from the opposite side of the motor through the already-perforated hole.

24

25

1.INNER CORE It is defined by a total Diameter (D) and a Pitch (P) , which is the required height for the helix to perform a complete revolution, and that is automatically-generated by the rotational angle (A) the end-effector takes while winding. The total length (L) is a multiple of (P) and can also freely vary. Once (D), (L) and (A) defined, we can automatically generate the Robot’s speed (R) and the extrusion speed (E).

(R) is defined by length of (P) divided by the automatically-generated rotation axis speed. For example, if P=100mm and the rotational axis makes 3 full rotations per second, which is equivalent to 20s for a full rotation, R=P/s = 100/20 = 5 mm/s (E) is defined by the total veneer length (V) required to do a full revolution divided by the automatically-generated Rotational axis speed. For example, if V= 240mm and s=20s, E=V/s= 240/20= 12 mm/s The principle was to wind veneer at a particular extrusion speed, particular rotation speed and most importantly a particular end-effector rotation angle.

Since our model’s inner core included 4 helixes, its programming process included 4 movements (left-to-right, right-to-left, left-to right, right-to-left).

The left-to-right movements are done with the angle A, while the right-to-left movement are done with the negative value of A, in the opposite inclination.

In addition to that, starting the 2nd movement, intersection start to appear, which requires pauses where both the extrusion and rolling need to stop in order to have glue applied. These points were geometrically defined on grasshopper using a mathematical logic. The pattern behind it is the following: ABS_0 TARGET_X TIMER_3s (Pull Veneer and glue reference point) DO_EXTR (True) DO_ROLL (True) TARGET_Y DO_EXTR (False) DO_ROLL (False) TIMER_3s (For Gripper Release and Glue Application) DO_EXTR (True) DO_ROLL (True) TARGET_Z (…)

DO_CUT

26

27

2. SINE WAVES They are defined by the Inner core’s pitch (P), as every wave’s tangent should land on an intersection point, by the already-define total length (L) and its intensity (I), which is the height of the wave or the separating distance between a core and another. Both (P) and (L) and geometrically defined, (I) however can vary independently and irregularly too.

As for the Robot speed (R) and Extrusion speed (E), they can vary freely but in function of each other, to obtain the exact veneer length required to obtain a correct wave.

The classical and expected method to use for the Wave’s development was spatial printing, but since our approach was more mathematical and calculations-based, we chose to experiment and develop something new. The principle would be to create a series of movements where the end-effector would go in 2 different directions: The end effector first moves forwards at the distance of the required veneer length to obtain the wave and extrudes at the same speed. Then, it would move backwards to reach the intersection point (Distance 1 minus the pitch) and consequently land on the location for glue to be applied.

The identical pattern repeats itself at the diametrical opposite, then a rotation of 90 degrees is required to effectuate the same pattern, with all points moved by (P/2) on the Y-Axis, then also a diametrical opposite. To illustrate, the logic looks like the following: TARGET_X DO_EXTR (True) TARGET_Y DO_EXTR (False) TIMER_3s (Gripper Release for Glue Application) TARGET_Z (With XY > XZ) (…)

DO_ROT90 DO_ROT90 PATTERN1 DO_CUT (…)

DO_ROT90 PATTERN2 DO_CUT DO_ROT90 DO_ROT90 DO_CUT 28

29

3. OUTER CORE It is define by the almost the same parameters as the Inner core. The total length (L), the pitch (P) and angle (A) stay identical. The difference is that its diameter (D) is already defined by the sum of the Inner core’s Diameter and two times the Waves’ intensity (I), as in D2= D1+ 2*(I). This difference affects the Extrusion speed (E), for the total veneer length (V) required to do a full revolution obviously increases alongside (D). so when (D) increases, (V) increases and (E) increases.

The outer core requires almost the exact same logic as the one for the inner core, the difference is that instead of the PVC roll, the surface of application is the series of the waves’ upper tangent, making it a more delicate process. In this way, it is necessary to have accurate stop at each tangent to apply glue and clip the helix to the wave. The planes that require pauses geometrically coincide every 90 degrees rotation. The Pattern, therefore, looks like the following: ABS_0 TARGET_X TIMER_3s (Pull veneer and glue reference point) DO_EXTR (True) DO_ROLL90 (True) TARGET_Y DO_EXTR (False) DO_ROLL90 (False) TIMER_3s (For Gripper Release and Glue Application) DO_EXTR (True) DO_ROLL90 (True) TARGET_Z (…)

DO_CUT

30

31

PHASE 3: FURTHER DEVELOPMENT JUNCTION Focused on the vision of a structural module for a pavilion, we also conceived joints that can get directly attached to the core’s rings to bring multiple elements to create an architectural composition. Whether it is to join 2, 3, 4, 5 or 6 elements together, to create angular curvatures, or preserve the flexible logic, the main goal was to preserve visual integration, fluidity and smoothness.

Although the possibilities are numerous, the solution we adopted it a Legoinspired system, where extruded plugs penetrate the objects’ rings to then be screwed and have a minimal visual impact.

An idea that would also be developable in the future would be to construct these joins using veneer and the robot, for a perfect integration: They could be a direct continuation from the cores, as the rings would vanish to make place from a direct organic-looking matter that brings the elements together.

32

MULTIPLE USE The design being a parametric system offers a million development opportunities, which also makes the project an exciting one. Did you ever think you could build an entire pavilion using your Bedroom’s lamp?

Longitudinally and laterally developable, HLX has the possibility to serve multiple architectural functions: A modulable element that can become a dome or pavilion, a structural column, a part from a furniture, a lamp, a decorative object or a trinket. Its parametrical nature can offer so much more if further developed and associated with additional elements, for it could also become a fence, a partition, a bridge,…

IDEAS The flexible nature of the system also inspires alternative developments of it. An irregular development of the intermediate waves, for example, could give organic-looking outer core or provoke intentional ‘accidents’ such as a bump or a wave extrusion that both serve a purely aesthetic function. A development of the helixes following a particular algorithm or rule could also create a rhythm in the core’s openings and intersections, giving it a futuristic feel. Concave, Convex, Regular, Irregular, Organized or completely random, 33

34

35

36

37

38

39

40

41

42

43

thanks for your attention! special thanks to: uni kassel Department of Experimental and Digital Design and Construction