EX-LAB: DIGITAL DESIGN FABRICATION
DESIGN + FABRICATION JOURNAL
DANNY NGO 783843
Preface
EX-LAB
“The Experimental Design Lab subject Digital Furniture Fabrication focuses on digital fabrication and making techniques as a means to drive design processes. This methodology allows the processes of making to become the active agent in the design work-flow by constructing a feedback dialogue between physical prototypes and computational processes. Students are asked to investigate this notion via the exploration and extension of existing process of making through the use of digital fabrication and computational design processes. These investigations are then used to develop and resolve a small piece of furniture that harnesses these innovations. This results in incremental innovations to known making techniques, such as slip casting, sheet folding, fabric formwork or 3D printing. These innovations are facilitated by a deep understanding of material manipulation which is enabled by the feedback dialogue between physical prototypes and Computational processes.�
Contents 1 | COLLABORATIVE STOOLS
1]STOOL 01 // MACHINE EXPERIMENTATION
2 | STOOL 02 // MATERIAL INVESTIGATION
2 | FINAL FURNITURE A Self-Organized Furniture A] Force B] Material C] Framework D] Methodology REFINEMENT
11 - 39 40 - 67 68 - 213 72 - 77 78 - 99 100 - 141 142 - 195 196 - 209
210 - 213
HANG-CRETE TABLE PHOTOS
214 - 235
4 |SUMMARY + REFLECTION
PROCESS TIMELINE STOOL 1
STOOL 2
Page 67
FURNITURE PIECE
FINAL CONSTRUCTION
K
W
K
W
K
W
K W
K
W
K W
K
W
K
W
K
W
K
W
K W
K
W
K W
K
W
K
W
K
W
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
FINAL FURNITURE PROCESS
EX-LAB: DIGITAL DESIGN FABRICATION_2017
AN INVESTIGATION INTO MAKING
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
1 | COLLABORATIVE STOOLS
8
The initial task to break us into creating and developing our furniture piece looked at firstly, understanding he environment around us. Paired with Morgan Doty, offset our different skillset within making and understanding. The process of machine investigation followed by material experimentation enabled both of us to quickly understand how and what to create in terms of availability, time and restraints. STOOL 01 and STOOL 02 achievedsuccessful prototypes in investigating material performance and the process of making and understanding
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
FURNITURE INVESTIGATION // with Morgan Doty
9
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
1 | STOOL 01 MACHINE EXPERIMENTATION // CNC MACHINE
10
The CNC machine is a revolutionary tool that enables the integration of digital fabrication into the physical realm. Once thought forms and process un-imaginable are realized through the complicated process of CNC routing. Where ‘smoothness’ is accessable.
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
The CNC machine, a relatively ‘new’ alternative to construction, is a computer numerically-controlled machine. Tools paths are controlled by a computer, broken down and read as G-codes programmed by a user. Like the laser cutter, the CNC machine adheres to a bed and a variety of points on a planar surface.
11
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Our first initial machine investigation looked towards getting familiar with the methods of tool pathing on the CNC machine. Working closely with the fabrication team, it was quickly learnt of the possibilities and the restraints that the CNC machine provided. To create a grooved surface followed the process of creating the doubly curvature surface on rhino and then further processing it on RhinoCAM. Horizontal Roughing...
To Achieve a smooth surface, subtracting material away from base surface through the use of tool pathing allowed a quick and acheivable way to create doubley curvature surfaces upon a material. This process, although achievable by hand, is done more quickly with the aid of the CNC.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Tool&Material Test_01_SurfaceMilling
Tool_Horizontal Roughing & Profile Finishng, Material_18mm Plywood
1
2
3
4
5
6
horizontal roughing followed by profile finishing turned a job, although complicated, easy into a lengthy process.
12
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
Profile Finishing...
13
Portugal
Carolien LARO 2011, ‘Spring Wood’
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 PRECEDENCE
Process: Kerfing, Material Subtraction
Within the initial investigation of how we could exploit the capabilities of the CNC machine we on looked for techniques in which we could carry out and try to replicate using the CNC. The ‘Spring Wood’ Chair by Caolien Laro was an interesting concept which used the technique of kerfing subtracting mass away from a material and allowing a thick piece to bend and twist. This subtraction technique was our first insight into understanding how a material can be manipulated to re-shape its material property. This was then used to try and recreate and test on the CNC machine through, primarily, tool pathing.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
14
Material: Wood
15
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Looking towards creating doubly curvatures surface from a harsh and rigid material such as timber and ply, proved to be too lengthy when dealing with horizontal roughing and profile finishing. So there was the interest into looking further how the tool pathing of the cnc machine allowed the subtraction of material to create bending moments that would potentially be manipulated as a curved surface.
Tool_Profiling, Engraving, Flip Milling
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Tool&MaterialTest_02_Kerfing
Material_18mm Plywood
1
16
2
3
4
5
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
This test however was a major fail, as the material chosen, 18 mm plywood, to kerf proved to be too weak as the cnc machine subtracted material from its profile. As plywood has infividual sheets layered together, the subtraction put the stress of the bend on a singular sheet of plywood, which in turn greatly decreases the strength of the plank.
17
EX-LAB: DIGITAL DESIGN FABRICATION_2017
After the failed attempts of kerfing with plywood, Morgan suggested using Alucobond sheets as an alternative material to test bending a folding. The investigation then led us to carry out processes that was learnt previously used on the plywood tests and adapted to the material chosen. Firslty it was to investigate how a single sheet of alucobond would be able to be turned into a doubly curvature surface through, again, the method of kerfing.
Tool_Engraving
This process however proved to be a fail, but a successful fail none the less. The ideas learnt from the failure of the kerfing of the alucobond showed moments of bend where the 3.45 V-Mill drill bit cut too much and provided an insight into flexibility of the material, when drilled past the foam filling.
Material_3mm Alucobond
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Tool&MaterialTest_03_Kerfing
18
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
External Profiling V-Milling
19
Portugal
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Rui SILVA 2014, Xarp // Chaise Longue
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
Process: Folding
Looking primarily at form, ‘Xarp’ By Rui Silva based their geometries off scifi jet planes, influencing its base geometry. With its sleek black lines and reflective materiality, the aluminium reflects light created by the ribs and ridges which are also the structural legs and arms. The aesthetic of this chaise lounge not only influence our direction with folding of the alucobond but also developed our understanding of structure, where the ribs and folds on the chair created points of strength and stability, where the need for the legs to touch the ground at a singular point is made possible through the load distribution carried down by the ridges.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
20
Material: Aluminium & Cork
21
EX-LAB: DIGITAL DESIGN FABRICATION_2017
To fold this specific type of material, the method of subtraction of material determines the behaviour and strength of the sheet. Using the specific 3.45 V-mill drill bit on the CNC machine, we were able to test different kinds of bends, achieving different angles, while lesser angles achieved tighter bends but stronger forces when compressed.
1
2
3
4
5
6
The process of designing the positions of the fold lines highly depended on the angles and material strength of the alucobond sheet when milled.
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
Material_3mm Alucobond
Through the interesting properties in using the 3.45 V-mill drill bit on the alucobond material, further investigation went into finding out how and what can be done with this process to achieve a seamless stool that is made out of a series of folds.
External Profiling V-Milling
22
Tool_V-Milling
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Tool&MaterialTest_04_Folding
23
TOOL: V-MILLING MATERIAL: 3MM ALUCOBOND
PROTOTPYE 01a_FOLDEDSTOOL :
EX-LAB: DIGITAL DESIGN FABRICATION_2017 STOOL 01 // CNC MACHINE
The bend of the aluminium on the most outer side will act in tension and compression as the bend forces it to snap back and forth therefore the material will tend to be more brittle with use.
MASTER OF ARCHITECTURE _MSD
24
The process of folding the Alucobond material is quite delicate in the way it shapes and bends. What is more interesting is that the structural integrity of the sheet is highly depended, well only dependent on that 1mm thin sheet of aluminium on the outside. This then asks the question, at one singular cut line, does it make the bend weaker because only so much of the aluminium sheet is being ‘snapped’? If the groove allowed the aluminium sheet to ‘bend’ more… then would the curve be a lot stronger?
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
FOLD
3
25
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
27 26
EX-LAB: DIGITAL DESIGN FABRICATION_2017
While prototype ‘01a – fold³’ was a success we weren’t happy with the ‘easability’ of the stool. While impressive; the material formed, using a singular shee reflected the structural capabilities, highly depent on the folds – we wanted a much more elegant and complex way to deal with these folds – to express them as both structural and aesthetic purposes. Single Sided V-Milling
Flip V-Milling
The idea of the double fold stemmed from the idea of kerfing mixed with folds. This idea was aimed to test structural integrity by pushing the material and subtracting parts to enable a better manipulation of its ‘benda-ability’. It was however, an outstanding fail. The process to kerf AND fold the material by milling one side, subtracting the material and then flip milling it by flipping it directly over and cut the opposite side at different intervals hoped to create an easier process of folding.
FLIP MILL FAIL
Material_3mm Alucobond
Test 5.1 was a fail, as the material is too thin, and explained earlier, as we subtract the material the structural strength relies on that 1mm thick aluminium to bend and twist. So when we flip mill the material, there is not enough aluminium left to structurally hold it together. With the fail of one, stemmed something even more beautiful. By accident, the process of flip milling on the CNC was stopped on one test, with it only milled the one side, which then was bent and tested to observe its properties. Test 5.2 will show the clean sleek ridges created by the manipulation of the folds on ONE side of the alucobond which was a huge identifier in understanding how the cuts on the one face enabled the alucobond piece to bend one way, but also having the extra benefit of creating ridges that, because it is all one material, pulls and twists it self as we bend the piece. T / 05.2
BENDING RIDGES
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
T / 05.1
28
Tool_V-Milling & Flip Milling
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Tool&MaterialTest_05_DoubleFolding
29
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
30
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
LIKE FOLDING A PIECE OF PAPER, THE RIDGES CREATED FROM THE FOLDS ADDS STRUCTURAL INTEGRITY TO A PLANAR SURFACE - Adam Markowitz, 2017
31
TOOL: V-MILLING MATERIAL: 3MM ALUCOBOND
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTPYE 02a_DBL_FOLDEDSTOOL :
We wanted the legs to be the main showpiece, so by creating the legs quite large to enable stability, we decided to confine ourselves to only three, so that sheering and twisting would be reduced. While the parameters of having only 3 legs was crucial, the want was for the whole piece to be made out of one singular material, therefore the bending and cutting had to be methodically thought out as to, connect all three legs WITH the grooves and connect them together through the seat, as done in prototype 01a-fold ³ The decision to have the hexagon seat was to reflect the necessity of the 3 legs and the points in which they would attach to the seat, where one side would be bent FROM the seat while the other side of one leg would be bent around and ATTATCHED to the seat through the screws. The folding of the legs to further attach to the seat was the most difficult in terms of perfecting and getting the joinery detail crisp and perfect. Tucking the material was the only way to achieve a flush finishing on the outer edges, giving it a seamless and fluid detail.
External Profiling V-Milling MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
Prototype ‘02a – DBL Fold’ was the final iteration for our stool 01 series. The processes learnt from the double fold tests were applied to our final iteration. While the double folding prototype only targeted the legs of the stool, it was important to us to keep a similar language for the entire stool. Where the legs and bends created external ridges to look something out of a sci-fy/ futuristic video game, we wanted to keep the edges, joinery details and especially seat to reflect this kind of language; as well as maintain the geometry out of the same sheet of Alucobond.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
32
DBL FOLD
33
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
The bending process of the double folded stool was greatly interesting, as we couldn’t have predicted anything like this happening. Where; when the material bent one way, manipulated by the grooves from the v-mill drilled lines, the stool moved WITH the bends, simultaneously making the singular material contract based on the folds, turning them into ridges.
34
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
The ridges created between the two fold created a greater resistant to the forces of gravity. In result, when a point load, say the weight of a person sitting on a stool, acts upon the folds of the singular material, the ridges tightens and constricts creating a ‘new’ stronger and rigid form, one that is different in its resting state. This was the keen interest and explored through through the prototypes in figure 5.1 and 5.2 and realized through our final iteration.
35
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
37 36
MASTER OF ARCHITECTURE _MSD
STOOL 01 // CNC MACHINE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
39 38
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
2 | STOOL 02 MATERIAL INVESTIGATION // 3MM PLYWOOD
40
Looking at, specifically 3 mm plywood, our main concern was to turn something so thin into a working structure, one that would hold the load of a person, as well as provide an aesthetic that showcases its form.
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
Given the material of 3mm Plywood, initially, we were both taken back at the sheer amount that people have investigated and created utilizing plywood in all shapes and sizes. What was most interesting about throughout investigation was that by seeing and analysing plywood at its core, revealed the hidden beauty of ply, where the aesthetic is not just within its visual capabilities, but what it is structurally capable of.
41
42
London
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
The Ripple was a means of pushing past what is normal, by fully exploiting the capabilities of plywood and using it to its maximal potential. Understanding plywood’s structural integrity and behaviour, Hubert was able produce a process that would create a structurally sound table and weight no more than 9 kg. The table spanning aprox 2400mm and 1000mm wide, utilized lamination and the technique of corrugating a singular surface to create ribs to support insane amounts of loads. Our interest lied between the investigation of ply structural capacity at a minimal effort.
Benjamin HUBERT 2013, ‘Ripple’ Table
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Process: pressure lamination in conjunction with Canadian manufacturer Corelam
The ‘Ripple’ Table by Benjamin Hubert was our most influential precedence within our investigations of plywood. There have been many achievements in the world of plywood, but our keen interest was fixated on what can we achieve with ply that no other material can.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material: Birch Plywood
43
EX-LAB: DIGITAL DESIGN FABRICATION_2017
In trying to quickly understand the materiality of plywood we sought to look at its capabilities in not only strength but also restraint’s. We wanted to know what ply couldn’t do. Looking firstly at bending, we set up a series of test that allowed us to grapple the understanding of how ply is able to bend, up until what points does the fibres of the ply want to snap. Investigating this process our initial porotype was to achieve multiple bends, varying in thickness to identify what can bend the most with the shortest width and how this would inversely affect its tactility. T / 01a
STRENGTH OF DIFFERENT WIDTHS, RAW PLY
T / 01b
BENDING WET PLY
It was also a large consideration to tale note of the grain of the material. Bending along the long grain produced a stronger flex, while also mouldable when soaked. Bending the short grain achieved a much better bend but was more susceptible to snapping. the most interesting thing taken from this was that through the bending process of the plywood, Elasticity was apparent throughout the process. Where the grain of the bending process determined different structural performances as well as allowing different capabilities of forming.
Material_3mm Luaun Ply
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
Tool_Lazer Cutter
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
44
Material Test_01_Bending
45
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
46 47
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Material_3mm Luaun Ply, PVA Glue
Creating simple jigs, we wanted to test different curvatures and possibilities that the laminating process would allow. Although interesting, the process of laminating to achieve curves proved to be too hard and too time wasting, where the outcome was a little bland. While there was potential, we wanted to look at 3mm plywood at its fundamental core and express the properties, rather than sticking more pieces together and create a super strong plywood structure.
T / 02a LONG GRAIN
T / 02b SHORT GRAIN MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
Lamination was the investigating in turning the thin 3mm plywood into more of a 3-Dimensional structural piece. By laminating multiple pieces of 3 mm ply together, created a thicker structure while also achieving the elastic bend that only 3mm plywood could achieve through clamping and moulding. Our investigation during this process was to understand which grain direction allowed for a better flex, whilst testing structural performance.
Tool_Jigs & Clamps
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
48
Material Test_02_BentLamination
49
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
50 51
52
China
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
Another interest within this precedence was that the design thought of the integration of the live load of a human body upon the stool was considered, in that the flex of the material also created comfort and seating. Flexibility and tension became a strong ideology within our thought process towards plywood. The elegancy and beauty stemmed from its minimalistic approach, utilizing forces of tension and the weight of the human body to control structure.
Atelier CHEN MIN 2013, Hangzhou Stool
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Process: Each veneer is made of multiple thin bamboo layers, aligned with each other.
The Hangzhou Stool, captured our interest in creating a stool that defied the ideas ‘structural’’ integrity. The flexibility of the bamboo material, laminated, flexed and aligned with each other gave the stool strength. This was the point of interest, using minimal material to create structure.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material: Bamboo veneer
53
Chicago, USA
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Studio Gang Archtitects 2011, South Pond Pavilion
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
Process: Pre-fabricated wooden planks, bent
Although not a furniture precedence, the ‘South Pond Pavilion’ by Studio Gang Architects provided us an insight into looking at how the manipulation of wood intertwined as a system created form AND structure. Through the interconnected edges of the wood, created a grid where each connecting member is influenced by the next. The interesting concept behind this precedence was the way the natural forces of gravity is evenly distributed through the irregular shape of the pavilion. This formed the bases of understanding how we could utilize a thin material, generally in-capable of providing adequate structure and develop a system that would strengthen and exemplify its capabilities.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
54
Material: Wood, Fibreglass
55
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Given 3mm plywood, we wanted to really celebrate this materiality, where the structural aspect would envelop from a system that reflected its thinness. Looking at plywood in its elastic state we wanted to interrogate it as bending as a system. Intrigued by this idea, Jas and Adam both encouraged us to interrogate how and what is it about the structure of, specifically 3mm ply and how would elasticity in ply perform structure. Having no idea how to achieve structure from something so thin and flexible we were hopeful in the prospects of its flexibility in tension.
56
T / 03b WEAVING
Material_3mm Luaun Ply, Water, String
Material test 03a looked at how plywood would work as a system, where the plywood strips are attached together and bent and pulled to create a system of elasticity, feeding and pulling upon each other. Material test 03b was looking at how we could extrude this concept further by firstly soaking the plywood strips in hot water and then bending it to a desired shape. In this case, it was bent into itself, where the string was tied from one end of the plywood structure to its opposite counterpart. This was to identify how the strength of the plywood’s elasticity would – self organize its form and therefore structure.
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
T / 03a ELASTICITY
Tool_Lazer Cutter
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material Test_03_Bending as a System
57
TOOL: LAZER CUTTER MATERIAL: 3MM LUON PLY. WATER
PROTOTPYE 01b_DOME:
EX-LAB: DIGITAL DESIGN FABRICATION_2017 STOOL 02 // MATERIAL INVESTIGATION
As the prototype wanted to act in compression (load of a person) the singular strips would compress and the fibres to inversely act in tension This prototype was a success in proving concept of elasticity and structural intent on its maximum bending point but failed in terms of form and rigidity.
MASTER OF ARCHITECTURE _MSD
58
Elasticity dome was an extrusion of our first ever plywood test, where the singular strands of plywood where bent onto a framework. Looking to provide structural integrity, we wanted to bend plywood along its long grain. To do so we firstly submerged the plywood strips in hot water before bending as it makes the plywood more mouldable. In doing so we created flexibility within the middle of the stool which turned out to be the strongest part of the structure. Much like the Hangzhou stool, the flex in tension of the material at the point of bend provided a rigid point
Outcome:
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
ELASTICITY DOME
59
EX-LAB: DIGITAL DESIGN FABRICATION_2017
TOOL: LAZER CUTTER MATERIAL: 3MM LUON PLY. WATER. ROPE
PROTOTPYE 02b_ARCHES:
STOOL 02 // MATERIAL INVESTIGATION
Although a fail, this prototype was the one that we based our final plywood prototype off. As we were looking at how 3mm plywood would behave as a bending and flexing system, we wanted an object that fore fronted the thinness of the material but also expresses the rigidity it created once in a bending/flexing state.
MASTER OF ARCHITECTURE _MSD
60
Extruding our understanding of plywood and its elastic properties, we looked at creating a stool that was made purely on the basis of flexibility and elasticity. Using string as a tie that keeps the plywood strips in a constant state of bend we hoped to create an interesting aesthetic and form. Structurally however, this object would never work as it was TOO elastic, creating no structural performance what so ever
Outcome:
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
ELASTIC ARCH
61
TOOL: Laser Cutter MATERIAL: 3MM LUIN PLY, ROPE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTPYE 03b_DBL_TENSEGRITYSTOOL :
After bending the middle, main structural panel the three outer panels tied together with string, creating two legs and a middle seat, where the two outer panels where draped over the bent middle panel. This design aspect was to stop the middle panel from bending outwards as the forces of the two side panels on either side would want to bend inwards. These then formed the legs of the stool, attached and weaved together by string tying the structure together, and designed in a way that complimented the structure of the stool.
The middle panel of the three connected panels created the seat. As the two legs where draped over the middle bent plywood panel, the seat bent outwards to form a comfortable curved surface. The seat was the most crucial aspect of our design, as it intertwined the user and the stool through the simple connection created by the meeting of the seat and middle panel. As the user sits on the seat of the stool, the sheer force of the weight of the person compresses the stool, where the seat touches the bent middle piece, flexes and makes the piece of ply bend at the legs, providing structural support at the point of bend (top). Utilizing the forces of compression and tension, alongside the understanding of the grain of the plywood structure, we were able to achieve an elegant proposal in dealing with the elasticity and flexibility in plywood, creating a structurally sound stool from only 4 thin sheets of 3 mm ply, tied and bound together through the interweaving of string and counter fores of its own material property.
MASTER OF ARCHITECTURE _MSD
STOOL 02 01 // //CNC MATERIAL MACHINE INVESTIGATION
Tensegrity was our final iteration of our stools, expressing the full capabilities of the 3mm plywood through utilizing moments of bend and flex, attached to one another through a simple weaving of string and counter force.
Learning from our previous prototypes, our final stool looked towards using both a duality of material properties and external forces to develop its structural integrity. The basis of our investigation was to design a stool that provided a comfy seat while the force of the user on top compliments and adds to the strength of the stool. By having the middle plywood panel as the main structure of the stool, we soaked the panel over a 2 hour period to allow it to bend into shape. In doing so we cut grooves into the panel to enable the panel to bend further and avoid snapping, where a full panel was thought to be too rigid to bend. This design consideration was also taken into consideration to achieve an aesthetic that expresses the bending moments of the middle piece through the slats it created.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
62
TENSEGRITY
63
STOOL 02 // MATERIAL INVESTIGATION
MASTER OF ARCHITECTURE _MSD
STRING WEAVE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
64 CURVED SEAT
MIDDLE STURCUTRE PANEL
SIDE PANELS (LEGS)
65
MASTER OF ARCHITECTURE _MSD
STOOL 02 // MATERIAL INVESTIGATION
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
66 67
EX-LAB: DIGITAL DESIGN FABRICATION_2017
A SELF-ORGANIZED
FURNITURE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
2| FINAL FURNITURE
68
What is interesting isn’t in the object itself, but more so the process that develops into an object. The idea pursued is through the methodologies and ideologies of self-organising materials, techniques, and forces that push understanding of what is achievable by man and more so offset it by integrating a symbiotic relationship between artificial and natural processes. The furniture will be defined by: A Force A Material A Framework And a Method Where the user sets the parameters for the methodology – but enables the force to ‘naturally’ manipulate the properties of a material to create a desired (or not desired) object – therefore showcasing what the outcome of a furniture piece to be…
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
MATERIAL INVESTIGATION // experiments in form finding & structural integrity
69
HANGCRETE; TIME-PROCESS & DEVELOPMENT
K
W
K
W
K
W
K
W
K
W
K
W
K
W
K
W
K
W
K
W
K
REFINEMENTS
FINAL CONSTRUCT
D] METHODOLOGY
C] FRAME-WORK
B] MATERIAL REFINEMENT
B] MATERIAL INVESTIGATION
W
PREP OF CONCEPT
EX-LAB: DIGITAL DESIGN FABRICATION_2017
K
W
15
14
13
12
11
10
9
8
7
6
5
4
3
The process in developing my final outcome was generally a linear direction but not necessarily a linear process. Due to the fact that I was looking at four main factors; A] Force, B] Material, C] Framework, and D] Methodology Each variable followed their own linear process that developed in parallel. Each of the factors where concurrently developed and advanced as the weeks progressed. As there are overlaps between these processes, this part of the journal segments itself into four main categories that will overlap at different intervals, iterated by each following week of development. The time-process is the physical representation of the development of each of the different factors within the various weeks.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
K
W
16
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
70
K
W
71
The principles of ‘free formed’ structures can be traced back to the original ‘parametric thinkers’, Frei Otto and Antoni Gaudi. Otto experimented extensively with dynamic forces through the fluidity of soap bubbles while Gaudi explored similar relationships with the distribution of forces (gravity) through catenary studies. What remains consistent in each approach is that materiality is exploited to ‘compute’ complex relationships.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
GRAVITY AS THE AGENT
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
72
[A] A FORCE
73
Barcelona, Spain
PRECEDENCE
74
Gaudi generated physical prototypes such versions of the Colònia Güell Chapel and be confident that the product would stand.
What im interested in creating is more so the process of self organizing sturcutres. One that with the guide of the user becomes a statement of its own properties- sythnethesising it with a force that stretches, pulll, compresses...etc creating an organic struture manuvered by manipulation and systems based on understanding
MASTER OF ARCHITECTURE _MSD
Gaudi’s understanding of gravity and catenary structures enabled him to create impossible forms that are only achievable through his process and methodology of creating and construction. As early forms of parametric thinking, Gaudi, rather than manually calculating the process of catenary curves, he used the natural force of gravity and physical prototyping to derive the shape of catenary curve through a series of strings and weights.
Inerest:
Antonio GAUDI1898, Colònia Güell Chapel
EX-LAB: DIGITAL DESIGN FABRICATION_2017
The force of gravity isn’t a new concept and many people have exploited this natural phenomena in the process of design and structural integrity. Antonio Gaudi is the most notable in mastering gravity and manipulation. Gaudi uses the force of gravity, mathematics and fundamental understandings of structure and physicals to control and design such structures as the Colònia Güell Chapel and the La Sagrada Familia church in Barcelona.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
WHAT IS ACHEIVABLE?
75
EX-LAB: DIGITAL DESIGN FABRICATION_2017
76
The manipulation, understanding and craft towards utilizing the mesh were a struggle on its own. It was pulled, twisted, cut and prodded in trying to grasp the materiality of the mesh structure, identifying how it can be controlled. Looking in depth at the mesh it was defined that the control over the mesh was bound to the ‘grain’ of the mesh. Strong it may be, the grain of the mesh created a grid structure that would allow me to manipulate forms through anchoring points.
It was a major consideration to use a mesh structure over a piece of fabric as the mesh allowed me to achieve what I desired through the multiple nodes it created, while also the ‘stretch-ability’ of the mesh also enabled me to further control the curvature of the forms. The difficulties in working with the mesh, was also ironically in the ‘stretch-ability’ of the mesh, where once the mesh was pulled one way , the holes and structural integrity would totally shift and change. The mesh structure was a very variable material to work with, in that it would never give a consistent outcome. this however can be somewhat controlled as shown later within the process.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
In search of a material structure that would confine my process like gaudi and his string theory; my intention was to look at a mesh like structure that would allow me to create similar catenary forms. Finding the perfect substitute, a bird mesh bought at Bunnings proved to be the catalyst for the direction of my whole process.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
THE MESH AND THE GRAIN
77
EX-LAB: DIGITAL DESIGN FABRICATION_2017
In order to achieve a furniture piece; one that exposes the forces of gravity not only through the expression of form, but also the structural integrity of the natural process, a material is sought to define the undulations of the product. The structural formations of the object are defined by the investigation of different materials that enable an ‘elastic’ performative behaviour. one that stretches to create form, but hardens at a moderate interval to capture the moment of gravity (not too quickly as it doesn’t capture movement and not too long so the form doesn’t break). A process of variable casting agents where looked at to capture a brief moment of physics in motion.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
CASTING A MATERIAL
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
78
[B] A MATERIAL
79
80
Netherlands
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
This is what interests me, the process of a user input in investigating a material purpose, one that as much as it is controlled by the user, the material constructs the end product. This process could not be predicted unless investigated.
Pascal SMELIK2015, Kaarsrecht
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Process: Layering Melted Wax into Cold water to solidify the mixture
Although uninterested in the product, the process that Smelik Iterates through to achieve his forms is the process that is the most interesting aspect of his experiments. His process in his wax structures was to define a methodology in creating a reaction between an element (water) and his chosen material (wax). Unknowingly what he was to achieve the wax structures, when in contact with the water, solidified and created interesting forms and structures, where one would not be able to achieve given the technological and digital inputs.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material: Melted Wax
81
b1] Plaster b2] Hard Rock Candy b3] Taffy b4] Resin b5] Wax b6] Expanding & Polyurethane Foam b7] Concrete
EX-LAB: DIGITAL DESIGN FABRICATION_2017
b1
b2
b3
b4
b5
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The kit of exploratory parts is a collation of the differential iterative material investigations conducted from week 4 to 10. Each of the materials investigated where chosen on the assumption based on their ability to achieve flexibility that, when paired with the force of gravity, would be able to shape and mold complimenting the sub structure of a mesh acting in tension underneath. Although the outcome of the material and desire for the material to achieve a final object was not known, the process of material investigation was to help identify what I wanted to achieve in the end.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
82
KIT OF EXPLORATORY PARTS
b6
b7
83
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The casting and curing time of the plaster only allowed a very short timeframe in which the material goes from a wet mixture into a solid. This short span restricted the opportunity to shape and form the plaster while in its wet state, therefore producing an undesirable outcome in terms of control.
MASTER OF ARCHITECTURE _MSD
The first material investigated was plaster. The reason I chose plaster as my initial material was to look at how casting materials such as plaster would react when poured directly through a mesh. Playing with the mix and setting times of the plaster, I was able to achieve variable shapes and forms, which also resulted in the interesting aesthetic of bulbus undulations created by the sheer force of gravity along with the weight of the material acting upon the mesh substructure. This was the basis of my interest, one that captured the intangibility of gravity, freezing it, and turning it into a tangible product. The other point of interest was looking at how the casting material was able to intertwine with the mesh, using it as reinforcement.
wk 5.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
84
[b1] GRAVITY PLASTER
85
Un-happy with the process that the plaster allowed Hard Rock candy was looked into as a material agent to avoid the possibilities of utilizing resin. Hoping the rock hard candy would act like the materiality of resin, elastic and plastic in its drying stage, while turning into a hard substance when hardened upon the strong. The process involved using large quantities of sugar, melted into a solution of hot water, submerging the desired sub structure into the solution to cure. While creating form and aesthetic, the sugar crystal provided little to no structural resistance. While the process of forming the sugar crystals took too long to form while creating too little of an output.
This material was seen as a fail.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
wk 5.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
86
[b2] HARD ROCK CANDY CASTING
87
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
It was much more hopeful and the consistency proved to be much more reliable than that of the hard rock candy. However, by pouring the taffy through the mesh to hopefully catch and undulate, the taffy fell straight through signifying its looseness and inability to be elastic enough to hold itself together upon a mesh.
MASTER OF ARCHITECTURE _MSD
Taffy as a variation of the Hard rock candy series, looking towards grasping a much more elastic variation of the candy/solid process. Taffy when done right, has the potential to be very elastic in nature, where the sugar content provides rigidity and structure within the mix. This was my interest, where taffy would be used as a moulding material, the process of draping this on top of the mesh hoped to create aesthetic undulations while the solidification process of the sugar within the taffy provided structure.
wk 5.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
88
[b3] TAFFY-TICITY
89
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
MASTER OF ARCHITECTURE _MSD
The initial intention with resin was based on its ‘elastic’ ability and process of curing. Capable of forming a rigid structure within minutes of mixing allowed enough time for a user to control the geometries and make alterations. The decision however, concluded at the use of resin, based purely on the fact that, as singular primary material, it was too expensive, predictable and set too quickly. Therefore there was a requirement of investigating different composites that would mix with the resin to achieve a better result, one that contrasted its mould-ability with a longer setting time.
wk 6.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
90
[b4] RESIN | COMPOSIT
91
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The outcome at first was satisfying, as it achieved everything that I was hopeful for, where it created a pleasing aesthetic but lacked structural integrity. The process of layering the wax caused the wax to drip and build on top of each other creating stalagmite like structures This was interesting but did not fulfil my initial interest in utilizing gravity to create structure. It did however, help me hone in on what I wanted through this investigation; a material that undulates and forms WITH the force of gravity, where the material is able to achieve interesting forms while providing structural integrity.
MASTER OF ARCHITECTURE _MSD
Wax was suggested by Adam and Jas in that the process that I was looking at/for is complimented by the wax material. Interested, I melted a bunch of wax candles in the oven until it reached its melting point, turning into a liquid. Much like the process of my earlier precedence ‘Kaarsrecht’ by Pascal Smelik I used the wax material in its liquid state as a process of form finding. Toying between the two states of liquid and solid, waiting for the liquid wax to cool, once the was starts to show signs of solidification, the process of layering upon the mesh was to grasp the tangible intertwining between liquid material and mesh structure.
wk 6.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
92
[b5] WAX-Drip
93
EX-LAB: DIGITAL DESIGN FABRICATION_2017
wk 7-9.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
[b6] FOAM[S]
94
MELTEED FOAM... Foam was investigated and split into two methods; a light weight material that solidifies into something structural (Expanding Foam), the other was changing foam’s material properties and reshaping it, playing with in in another state. (Melting Foam) Expanding foam: expanding Foam produced the most visually interesting outcome, where the mesh constrained the material, the lightness and expandability of the foam pushed and forced itself through the mesh grid. Alongside gravity, the expanding of the foam extruded and surpassed the mesh, really intertwining the two. This in turn created interesting forms/undulations.
Melted Foam in trying to change the material aspects of foam, I wanted to break it down and play with it in a liquid state. Melting down polyurethane foam with acetone turned it from a solid into a liquid in a matter of minutes. The intention was to hang this mixture, allowing it to drip from the mesh, where the elasticity of the foam, alongside the force of gravity pulled the material and evaporated the acetone simultaneously and hypothetically hardening the structure within the process. The result however, was a fail. Instead of doing what I hypothesised, instead it bunched at solidified into a ball of foam leaving nowhere for the acetone to evaporate. It took a week and a half before it turned into a solid.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EXPANDING FOAM...
95
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The method of casing the concrete within the mesh was also tested. Mixing and waiting for the concrete until it transition into a state that was wet enough to be moulded but solid enough to allow the mesh to cling onto the concrete as it was poured on top while it was acting in tension. It was also learnt that the wetness of the concrete mix needed to be at a certain degree of liquidity and solidification to achieve form. This was the interest within this investigation, although the aesthetic undulations beneath were minimal, the form definition created through hanging the concrete was excitingly pleasing.
MASTER OF ARCHITECTURE _MSD
The investigation of concrete wasn’t tried until the later date as I predicted the concrete to act the same as the plaster but achieve less of an interesting aesthetic. I was wrong. What I learnt through playing around with concrete through a mesh n weeks 8 – 9 was that concrete had the ability to not only cure over a set amount of time, which can be controlled and governed by the user, but also achieve a certain amount flexibility within its mix.
wk 8-9.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
96
[b7] HANG-crete
97
Loosing track of time and what was important, I had to quickly jump ship and side-track myself into a different process of investigation. Knowing what I wanted from the process, the choice had to be made determining which material to push forward with was crucial and this point in the semester. The desired want from the material investigations where based purely on aesthetic merit, while also taking into consideration the structural integrity and potential possibility of the material. Although a lot of material investigations where carried out, none of them achieved what I expected, however, both the foam and concrete mix did satisfy some aspects of what I was hoping to achieve. To push forward at this point was to look towards another direction within my process, then to hopefully define my material in relation to the development of my framework.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
98
MATERIAL REFLECTION
99
EX-LAB: DIGITAL DESIGN FABRICATION_2017
WEAVING A FORM-WORK The ‘framework’ is the parameter that looks towards shaping a FORM-WORK; A skeleton of the process, developing the constructs for the final outcome.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
[C] A FRAMEWORK
Specifically investigating; 1] The limitations that I face within my process and findings, creating a framework that constructs how and what can be achieved 2] The geometries of the form-work,
100
The physical and theoretical frameworks of the final piece is dependent on the control of the predictable yet variable and volatile confinements of the parameters set by the material, mesh and desired outcome of the final furniture piece. Controlling the process requires defining the framework to therefore determine the FORM-work Through manipulation and iterative process of testing, making, trying and failing to succeed a methodical process that will construct the final object.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
3] And lastly the physical framework that will help construct and confine the desired geometry.
101
My first iterations in testing both the theoretical and physical framework of my concept was to firstly, stick to the simple geometries but alter the anchor points by offering more points of manipulation, used to strategically anchor the mesh structure at certain points on different tests to grasp better shape and form deformation.
102
Outcome: Week 9 looked at improving the control of the anchor points as the material was confined to the choice of either concrete or foam. The better manipulation of the frames controlled the mesh structure, giving the user, myself, a little more understanding in what can and can’t the material do.
String Groove
CIRCULAR FRAME
RECTILINEAR FRAME Anchor Points
CROSS ANCHOR PLUGS
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Finally deciding which direction I wanted to go with, geometry wise, I franticly and rapidly constructed physical frameworks to enable me to control and fluidly move in-between testing and making different iterations of form, allowing me to identify what is achievable and how can I manipulate my parameters to determine a better outcome.
FRAME PROTOTYPE 1.0 // TEMPLATE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
During the material investigation phase, the frames used in the tests where governed by the simple geometry and limited anchor points. Adam and Jas encouraged me to expand from these parameters to fully grasp the properties of the mesh structure.
wk 9.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
INITIAL FRAMEWORK & FRAME
103
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: After finally determining which material to push forward with in week 10, it was important for me to grasp the tangibility of the force of gravity and its impact on the properties of both, my chosen casting material and mesh substructure. Working in parallel, the methodology and concrete mix was perfected throughout the process of testing and making through the theoretical framework of the process. Sticking to the two simple geometries of the rectangle and circle frames, the concrete mixture was tested and iterated through various types of forms to grasp an understanding what was achievable. In terms of how those points of anchor changed with the different geometries.
Where the intention was to generate an aesthetic through the integration of the concrete and mesh, the frame and anchor points provided an insight into understanding that, dependent on the position of the anchor points paired with the force of gravity and weight of the material created various size ‘holes’ as the dead load of the concrete material drags the mesh in a downward force. This momentarily allowed me to use this mesh to shape different undulations and curves by stretching and anchoring the mesh at different points to achieve curves and form. The method of pouring the concrete over the mesh however, produced an uncontrolled outcome in form generation.
This prototype resulted in a fail due to the fact that the material used to create the frame was only 3mm MDF – much too weak to support the weight of concrete casting – partly due to the material weight itself.
The Initial prototype in testing the properties of concrete was set within the geometries of the rectilinear frame. The initial investigation was to understand the properties of the material in hoping to create bulbus undulations created by pouring and casting the concrete onto of the mesh, showcasing the reactive process between the material, mesh and force of gravity, therefore allowing manipulation set by the frame. The method of pouring the concrete onto the mesh was used.
Material: Grey concrete, 1:1 ratio Frame Initial Frame, MDF, Rectangle
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
wk 10.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
PROTOYPE 10.1
Method:
104
Pouring
105
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: Embarking on the manipulation of the mesh through anchor points, it was interesting to me that the geometries of the piece can be controlled through how little and how large the holes the mesh creates when tensioned in specific parts. The most interesting part of this is that it offers the capabilities of control in geometry, much like those in the works of Frei Otto.
Material: Grey concrete, 1:1 ratio Frame Initial Frame, MDF, Rectangle
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Prototype 10.2 Is the product of the manipulation of not only the predetermined anchor point set by the frame but also adding in the added complexity of anchoring points THROUGH the MESH to develop form. This is interesting in that, this is only made possible due to the use of the mesh structure, where as any other type of fabric would not be able to control its nodes as such. Anchoring the nodes on the mesh in both a downward and upward force creates an interesting form which when the concrete is layered on top of the mesh freezes its structure.
The method of gradually layering the concrete mixture on top of the mesh structure limited the thickness of the concrete, which could only result the structure to achieve a very minimal and none structural surface. The decision to layer the concrete was confined by the framework of the prototype, where the method of pouring would not be able to capture the mesh as it would just fall straight through. The Result of this prototype was a successful fail; one that achieves an aesthetically pleasing form, but is limited by the concrete mixture and methodology.
wk 10.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
PROTOYPE 10.2
Method:
106
Layering
107
Through this, Prototype 10.3 and 10.4 was to understand and control how the concrete shapes and forms in contrast to a timber frame anchored at various points at a 1:1 scale (1200 mm x 600 mm) whilst testing the method of casting and mixture of the concrete at the same time. Timber was chosen as the main structure after Adam suggested that the frame in which encases the concrete be of a material that doesn’t dry out the concrete mix..
108
Constructing the Initial 1:1 frame many problems arose in terms of supporting and construction that would, hold up a heavy, hanging concrete structure. As seen in prototype 10.1, the sheer weight of the concrete is able to snap a frame. Therefore reinforcements of the frame where taken into consideration, where; 1) the frame needed to be glued AND screwed together and 2) The corners in which the frame would hang would need to be reinforced, having an extra corner piece that joins and screws both timber poles at the corner. The anchor points of the mesh where dictated by small sinkholes drilled around the frame of the structure in which screws would then be screwed into the frame with the mesh attached.
Secondary Corner Edge attatchment
Base Frame Lifting String Screws Attatching Frame
Anchor Screws
Attatched Mesh
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
A New framework.
FRAME PROTOTYPE 2.0 // TEMPLATE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Looking past the ‘simple’ framework constructed by the MDF frame, I sought to quickly look towards scaling up the prototypes to quickly understand what is achievable when changing the scale. Scaling up the prototype, calls for a change in framework, where adjacently the methodology and mixture of the concrete DOES NOT scale linearly.
wk 10.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
SCALING THE FRAME
109
EX-LAB: DIGITAL DESIGN FABRICATION_2017
wk 10.
Outcome: In scaling up the prototype, it was crucial In understanding how the new framework of the craft would pair in parallel with the concrete mixture, physical frame and method of casting. The new physical frame allowed me to change and alter the way I was dealing with the concrete and process of achieving form in terms of manipulation of the mesh. With the frame allowing me to achieve a depth of 30 mm, it was important to me to understand how the concrete material would react with a thickness and change in method. .Prototypes 10.3 and 10.4 were to test the concrete mixture in terms of time and curing. Where the intention was to create depth and thickness, I had to understand what the best process of casting the concrete mixture was to achieve control.
As shown, both protypes where a successful failure. The tests outline that within the casing process the mesh wants to act in tension as the weight of the concrete and force of gravity pulls the mesh in a downward force, pulling on the ‘holes’ of the mesh and pulling the concrete mix apart. In comparison, the curing time of prototype 10.3 allowed the ‘bendability’ of the concrete to achieve a greater flex as the ‘wetness’ of the material was able to merge with the mesh, unlike 10.4 where the concrete was already at a solid form, the mesh pulled the concrete too much.
P / 10.3
Where they both achieved poor forms and control they did give me an indicator in what my concrete mixture should be
P / 10.4
Prototype 10.3 - Curing on the ground for 15 mins before lifting Prototype 10.4 – Curing on the ground for 30 mins before lifting
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PROTOYPE 10.3 & 10.4
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CHANGING THE FRAME...
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle Method:
110
Lift & Hang
111
P / 10.3
P / 10.4
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOYPE 10.3 & 10.4
The Lift and Hang:
Outcome:
Offsetting my process of casting from the simple layering and pouring carried out in prototypes 10.1- and 10.2, with Adam’s guidance, the interest in utilizing a new frame that would allow myself to achieve thickness in the concrete mixture called for a change in the craft. To achieve the thickness and form, the concrete would;
where the anchor points connecting the mesh to the frame failed, created little opportunities of curvature where the concrete mixture would bend and undulate to create interesting wave like forms.
1) firstly have to be layered into the frame while on the floor, with the mesh laying underneath,
This was the point of change within my direction, where these little moments created the catalyst of change within my process. The combination of the concrete material, physical frame and methodology could only achieve this.
wk 10.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
...CHANGES THE ‘FRAMEWORK’
2) Waiting a certain amount of time for the concrete mix to solidify 3) then LIFT the frame from the ground, letting the force of gravity take control of the form
112
This theoretical framework of the Lift and hang method and physical frame proved to be a more successful In terms of achieving consistency and control.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
4) and then HUNG to cast
113
Looking directly at HIS compound of concrete mixture that he used to achieve his bending concrete table, I sought to utilize and expand upon his recipe and process.. Outcome: PLASTICIZER
OXIDE
PRECEDENCE
114
Vincent’s mix did achieve what I wanted achieve but was still NOT perfect for what I needed…
Cement & Sand Equal Parts Plasticizer Approx 6-8% of dry Glass Fiber mix Oxide Approx 2-3% of dry mix (Depending on intensity of colour desired)
MASTER OF ARCHITECTURE _MSD
Vincent’s Mix...
in trying to achieve concrete to bound together, was to look at concrete in a ‘wetter’ state. This is to combat the splitting and breaking of the cncrete as the mesh tries to act in tension as it was lifted. Vincent’s concrete mixture compound allowed a greater possibility of manipulation of the concrete DURING the process of curing. Much like his process, the act in playing with concrete in its bending state was made possible through the integration of the plasticizer, which greatly improves the moulding process of the cocnrete micture.
Melbourne, Australia
SAND
Vince was super helpful within my process, he gave me direction in determining how and what states and possibilities that concrete mixture enabled me to do.
Vincent ARMENI 2016, Bent-T-able
EX-LAB: DIGITAL DESIGN FABRICATION_2017
CONCRETE
In changing the framework of my direction, the concrete mixture and proceess of bending was imperative to the success and achievability of form. Stemming from previous student work from the previous Ex-Lab classes, ‘Ben-T-able’ by Vincent Armeni was my main precedence in achieving a concrete mixture that allowed me to play with concrete in its ‘bending’ state.
LEARNING FROM FRIENDS
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CONCRETE MIX & BENDING
115
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOYPE 11.1 & 11.2
wk 11.
The Frame to fit the Form After refining the concrete mixture, I wanted to expand and extrude from what was learnt from Vincent. Going into week 11 I frantically had to start finding my form, getting late into the process, my approach to understanding my form while concurrently perfecting my mix, frame and method was to test iterations through rapid prototyping.
P /11.1
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
FORM FINDING THROUGH MAKING
In hopes of refining what theoretical framework was more accurate in achieving a consistent form as well as pleasing a desired aesthetic, Prototypes 11.1 and 11.2 where set to test different frame techniques matched with different casting methods adjacent to the new concrete mixture recipe.
116
Two frames where created to cater to the two chosen methods, where; Frame 11.1 – to test the method of layering therefore the levelling of the frame was used to enable a hand to get into the knooks and crannies of the frame to layer the concrete onto the mesh. Frame 11.2 – to test the lifting method, where because the method only involves layering and lifting the concrete each pocket was to test different variations of ‘bending’.
P /11.2
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
In changing the frame, the process was similar to that of the larger scaled timber frames, but with the added desire to achieve interesting form by adding MORE beams and slats to create varying anchor points.
117
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Lifting Method
Outcome:
This method was a reflection of prototypes 10.3 an 10.4, Where the method wasn’t changed but rather the physical frame that encased the concrete. In trying to achieve better and more interesting forms, the frame in this prototype was aimed at anchoring points of the mesh at different locations with varied spacing’s.
The Lifting Method proved to achieve a strong process in controlling both how the mesh structure and concrete forms whilst creating a consistent levelling aspect that enables the structure to be further manipulated. With this process the wave like forms was easier to achieve and was more and finely represented.
The idea was to create undulating surfaces that would also be aesthetically pleasing once hung.
What was also interesting was the aesthetic that I had always been chasing through the material investigations; creating bulbus undulations caused by the weight of the concrete and force of gravity acting on to the mesh reflects the natural curvature of the process through a visual representation.
Material: White concrete, 1:1 ratio Frame Timber Frame, Square
wk 11.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PROTOYPE 11.1
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
THE FRAME TO FIT THE FORM
Method:
118
Lift & Hang
119
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Layering Method
Outcome:
The layering method was hopeful in that in terms of the aesthetic desire to create bulbus undulations were more prominent as the control of the scale of the undulations could be controlled. As concrete was carefully layered one after the other, the weight of the material and the force of gravity pulled the concrete mixture downwards to enable undulations.
The outcome of this prototype however, resulted in a fail. Although aesthetically pleasing, this technique didn’t allow me to have FULL control over the form,
The hope was to create even more interesting forms then that of the lifting technique due to the control I had as the user.
Material: White concrete, 1:1 ratio Frame Timber Frame, Square
Unlike the lifting method this method couldn’t achieve an even distribution of the concrete, and therefore the control of the thickness of the slab is not achievable. It did however allow control over the undulations but in terms of a finesse furniture piece, this process was much too inconsistent. This in turn results as a fail, the aesthetic is a success – but the structural integrity and functionality is a fail.
wk 11.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PROTOYPE 11.2
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
THE FRAME TO FIT THE FORM
Method:
120
Layering
121
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Prototype 11.3 was the first point of testing the new concrete mixture, seeing how the new concrete mixture will bind with each other, but utilizing slightly more complex geometries of a circle. The main point of difference in changing the base geometries from the recliner frame to the circular was the amount and position of anchor points. Understanding what is achievable based from previous prototypes, the form of the circle frame was pushed further to quickly grasp form, where the inclusion of a secondary beam that spanned across the middle of the frame allowed the potential to create a secondary anchor point directly in the middle.
Material: White concrete, 1:1 ratio Frame Initial MDF Frame, Circle
Outcome: Trying to create more undulation and wavy forms through the circle frame resulted in a in-consistency in controlling the mesh, proving to be harder task than intended. Where the forms created through prototype 11.3 achieved a far greater interest point then that of prototype 11.4. The added anchor point within the middle allowed the form to create a void, which was also aesthetically pleasing.
P / 11.1
Changing the mix of prototype 11.4 by adding larger aggregates resulted in no change to the properties and method of casting the concrete, except for making it heavier.
P / 11.4
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
While Prototype 11.4 revolved around utilizing the current mixture, of concrete, but adding larger aggregates, seeing how changing the properties of the concrete mixture by adding larger chunks will react with the holes of the mesh. The intention was to theoretically ‘plug’ the holes so that the concrete doesn’t slip too much when the concrete is in a wetter state.
wk 11.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
PROTOYPE 11.3 & 11.4
Method:
122
Lift & Hang
123
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
124
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
‘YOUV’E FOUND SOMETHING INTERESTING, NOW RUN WITH IT’ - Adam Markowitz, 2017
125
FIND ME A FORM-WORK
Precedence List: p1, p2] ‘Concrete Table’ by Delatour Design Lab This table shows how the design of the table compliments and really integrates the glass into the design, where the form almost was designed merely FOR the glass top p3] ‘Fjord Landscape’ by Ben Young Although this is not a table it shows the careful integration between the two elements of resin and concrete, where they both meet to define a single language p4] ‘Glass Island’ by Ben Young much like p3, this precedence shows how the concrete extrudes from the resin almost like a celebration of the concrete design while the translucency of the resin accentuates the concrete underneath. p5] ‘Arc’ by Molteni & C A Formal study, something that is different fromt eh usual capabilities of concrete, and how it establishes itself as a table rather than an experiment. p6} ‘Concrete Spurt lounge chair’ by Thomas Schlorke Not a table but the formal gestures of a singular curvey form that meets the ground in a delicate yet strong and powerful gesture.
As my product was always going to be derived from my process, my final object furniture up until this point was a blur. Looking at different precedence and how designers have utilized concrete to achieve different things, I had to define what category my process fit into, in terms of a furniture object, therefore setting out my FRAMEWORK that would influence my FORM-WORK. The coffee table was my decision as it enabled me to express my forms while also keep my aesthetic desire and not risk the integrity of its structure. These concrete coffee tables where looked at as precedence and formed the basis of my intention towards;
PRECEDENCE STUDY - THE TABLE
p1
p2
p3
p4
p5
p6
1) Form 2) Details of how the glass meets the structure 3) How it hits the ground 4) and how it sits within a space Where each of the precedence shown has their own unique way of presenting and representing either a table top that compliments its form or a design integration with another aspect.
wk 12.
EX-LAB: DIGITAL DESIGN FABRICATION_2017
After being lost within the confusion of so many factors to take into consideration, the mesh, the concrete mix, the method AND the frame I had to hone in at what I was ACUTALLY looking at. I looked towards firstly defining my form and then moulding my framework around that form. I knew what I wanted outlined by the physical boundaries (frame), the process of physically creating and testing hindered my opportunity to fully investigate form.
Base Geometry (Frame)
Sub-divided Geometry
128 Anchored Points on Geometry
wk 12.
The script I wrote helped me understand what was achievable and was wasn’t, then allowing me to choose which form I was going to strive for and determine both the physical and theoretical framework that I will push on with.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
To accurately determine how and what I can achieve, I turned to a computationally generative process, where utilizing kangaroo; a physics based platform, allowed to me to quickly test and determine different forms based on different geometries and techniques.
Creating a really simple script, I confined myself to different geometries that ranged from simple to complex, taking into consideration of the aspect of gravity and looking at how it touches the ground and how a physical element (glass table top) touches it. I didn’t want to be too unrealistic with my approach as I had to also physically create it what I had available around me.
GRASSHOPPER/KANGAROO TESTS
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CREATING THE FORM-WORK
129
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
wk 12.
MASTER OF ARCHITECTURE _MSD
ACHIEVABLE
GRASSHOPPER/KANGAROO TESTS STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
130
FORM-WORK ITERATION MATRIX
DESIRED
131
132
Italy
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
The way the bridge is designed to twist and bend touching the points of the bridge delicately intertwining the object, structural integrity and ground. This was my precedence in terms of formal investigation as well as understanding how what concrete is capable of.
Sergio MUSMECI 1971 -1976, Basento bridge
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Process: Modeling and bending concrete creating concave and convex shapes that form four arches
Exposed to this precedence rather early within the semester, the form and ability for concrete to be constructed and formed in such a way that undulates and curves grasped my interest. The ‘Basento’ bridge by Sergio Musmeci was the basis of my understanding of the formal techniques and capabilities of concrete as a bending and moldable material. I was most interested in the formal techniques of molding while the concrete was in its casting state, through molds and manipulation of the understanding of concrete, erects an outstanding feat of design for not only its time, but also in the modern sense.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material: Singular surfafce e of reinforced concrete, 30 mm thk
133
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: With Adam helping me decide on the form-work, based on the given time frame and achievability of the table, I wanted to quickly try to understand and iterate these in the physical form. Using plasticine as a quick modelling tool, I tried to iterate back and forth the digital and physical realms of making, where to understand the achievability of the digital outputs; physical sketch modelling allowed me to grasp the tangibility of these forms.
While it was easy to iterate on grasshopper/ kangaroo, the problem in the sketch modelling phase was that I wasn’t using the same parameters as I would in realistically making the piece, where the force of gravity was void and the materiality of concrete was scaled down. Therefore the tests and modelling iterations achieved none accurate depictions of the real-life 1:1 framework process.
wk 12.
Doing these physical tests however, did allow me to understand the limitations and restraints and fully understand that my methodology in creating my hanging-table (casting, lifting and hanging) was the only way in achieving these forms and therefore created a unique process/product.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PHYSICAL TESTS
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
134
FORM-WORK SKETCH MODELS
135
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 12.1 & 12.2 Outcome: After my realisation of the achievability of form through the plasticine sketch models, the only way I could tests these forms was to physically do them realistically, with the methodology, frame and concrete mix. Stemming off the succession of form finding in prototype 11.1 and understanding now what I wanted through the different forms investigated through Grasshopper/ Kangaroo, I had to sit down and thoroughly investigate and ask myself the question; how do I achieve these points? What If I could us the anchor points to not just make form – but as surface edge boundaries; using curvatures of the mesh to direct the concrete mixture to slope down and sit so that it will create a more consistent edge.
Due to my methodology of encasing the concrete mixture within my frame, the size of the prototype would only achieve those dimensions of the internals of the frame. Therefore by allowing more mesh material within the frame creates bunching, with no added benefit of creating depth, as seen in prototype 12.2. However, the form manipulations created by both prototypes allowed me to quickly understand that control of these undulating edges are governed by how much or how little I span the mesh material between anchor points.
P / 12.1
The main consideration at this point was also the possibility in achieving DEPTH. Jas suggested that within this week’s tests, was to look at the probability of achieving a 350-450 mm height, in which was suitable for a coffee table. Both prototypes 12.1 and 12.2 were to understand form by changing the frame to allow the mesh to create larger curves and undulations through edge manipulation.
P / 12.2
Prototype 12.2 however was my attempt at achieving depth through allowing more mesh material within the frame. The hypothesis was that by allowing more mesh material within the confinements of the frame allowed for a greater depth manipulation when lifted.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
wk 12.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
SCALING THE TESTS
Material: White concrete, 1:1 ratio Frame Small Timber Frame, Rectangle Method:
136
Lift & Hang
137
P / 12.2
P / 12.1
138
The final frame was to expose these edges and ALLOW undulations to achieve depth and form, where depth was the main issue in control. Previously I was screwing my mesh structure INTO my frame acting as my anchor points; this resulted in very rigid method of manipulation. There was a strong need in splitting these components where the mesh and concrete where one component and the lifting frame was the other.
The want was to enable more mesh span (bottom) with a shorter anchoring span (top). This would then enable the concrete mixture to achieve a deeper concavity created by the span ratio.
Base Frame
Lifting String
Top Anchor Points (Hooks)
an
in
or
h Ac
p gS
an
Secondary Frame
s
p hS
Me
Concrete Mix
Mesh
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
In controlling depth the things learnt from prototype 12.1 and 12.2 was the call to slightly alter the physicality of the frame that would benefit the methodology in achieving not only depth, but a better control of form and edge manipulation.
Talking to colleagues for ideas, Morgan suggested using hooks that would be attached to the frame, while secondary hooks be attached to the mesh. This in turn would allow me to create two sets of anchor points, where the main anchor points on the frame where to control the FORM, and the anchor points on the mesh where to help achieve DEPTH, while a secondary frame would be positioned on top of the mesh and used to control the thickness of the concrete mix.
Component 1 (Top Frame)
I finally defined my framework in which I wanted to expand upon and with a form in mind I finally had direction. At this point in the semester I was able to finally define my theoretical framework, by firstly constructing the final frame that would control my geometry.
Component 2 (Bottom Frame)
EX-LAB: DIGITAL DESIGN FABRICATION_2017
The turning point
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
B] FINAL FRAME
Bottom Anchor Points (Hooks)
139
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
140
At this point it wasn’t the question of the physicality of the frame, but rather the methodology and process of creating. I looked towards a different direction and looked more towards the aspect of METHODOLOGY to perfect my craft.
141
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Stemming from the understanding of the force, materiality and framework(s); the methodology, through countless iteration of prototyping and failures, constructs the process of developing a product that pushes the possibilities of what we can currently achieve with gravity, concrete and a mesh. The methodology converges the control of the process, extensively looking towards creating a new process of constructing. The methodology defines and outlines the craft that provokes my initial intention of a selforganised furniture piece with the control determined by the maker. To refine the methodology it is crucial to continually develop each of the main principles in parallel, where one cannot be solved without the other.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
CRAFTING THE METHOD
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
142
[D] A METHODOLOGY
143
144
MASTER OF ARCHITECTURE _MSD
PRECEDENCE
His methodology and process within creating the object captured my keen interest. His process in developing a system that would allow the achievement of the gravity stool redefines the way we think about the process of making in terms of the natural forces of gravity.
Denmark
“As a designer, I see future potential in the joined cooperative forces combining technology with natural phenomena.” – Jolan Van Der Wiel, 2011
Jolan VAN DER WIEL 2011, Gravity Stool
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Process: Utilizing Large Magnets on his system, pulls upwards allow both the force of magnetics and gravity, shape the stool.
The ‘Gravity Stool’ Was one of my most influencial precedence as it formed the foundations of my interests throughout the semester. Inteested in his object, Jolan Van Der Wiel constructs a gravity machine in which uses magnetics and the force of gravity as his casting/forming agent. What this precedence achieves to do is that it manipulates the natural phenomenon by exploiting its force through a tactile object and methodology. Utilizing magnetics he shifts the materiality of plastic combined with magnetic powder, to pull and stretch the object while relying on the force of gravity to form the stool.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
Material: Melted Plastics, Magnetic Powder
145
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 12.3
wk 12.
Lift & Hang Method... Trying to achieve depth, the methodology that I had been utilizing had to change. The new framework was the catalyst for development – my new methodology had to suite the new frame. As previously investigated, the fundamental requirement to achieve depth in the undulations was to enable more mesh material to span across the top anchoring span, working at a 2:1 ratio.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CREATING DEPTH?
L=x
Top Frame
Mesh/Slab L = 2x
146
Outcome: Prototype 12.3 was a fail as the technique used to control the concrete undulations and achieve more depth through a shorter span resulted in a too much of a deep concavity created through the mesh; this in turn created too much of a vertical surface for the concrete to cling onto the mesh. This vertness resulted in the concrete slab ‘rolling’ caving in on itself rather than bending it. This could be because of the dimensions of the smaller frame, perhaps it was too small? Perhaps the undulation to span ratio was off or it could also do with the thickness of the concrete – where the edges in which it would bend SHOULD be thinner, reciprocal to the amount of the bend of the mesh.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
With this theory in mind, prototype 12.3 was to test the new framing technique and see how the process of creating greater span length created by the bottom frame will react with the smaller frame above.
TOO VERT....
147
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 12.4
wk 12.
Lift & Hang Method... Although the intent was satisfied, the results gave me enough to push onto another prototype in controlling my method. Looking towards controlling the way I was lifting my framework, there had to be more accurate and consistent way in getting control of the LIFT. Prototype 12.4 was to test the process of lifting in terms of the anchor points, where the anchor points where tied off with string to allow the top frame to rest at a more comfortable position and not rip the concrete slab before lifting as it did in prototype 12.3.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CREATING DEPTH?
Outcome:
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Again, proving to be too vert, the methodology of getting a 2:1 ratio of top frame to bottom mesh/slab created too deep of a concavity, where the depth was hopeful but the concrete mixture didn’t allow it. The only solution to this process was to decrease the ratio, re look at the method and possibly question the concrete mix recipe.
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle Method:
148
Lift & Hang
STILL TOO VERT....
149
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: Frustrated with my methodology and confused as to what to do next, I looked more closely at how and what I was doing to the concrete mix instead of just rushing into the method of lifting. Investigating what it was about the concrete and what it wanted to do while suspended brought me to on look a different methodology to my process, building upon what I already know.
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle
Although the outcome was a huge success it only lead to more issues in terms of creating a refined product (the coffee table), in terms of finesse and articulation of control of the legs, edge, levelling - depth was still at the top of the priority list of issues to tackle.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
To achieve the certain amount of vertness – the method of purely pulling it up from a smaller frame to achieve depth makes the concrete want to pull away from the mesh. The important parameter to control is the SPEED and the method of bending the concrete, where by lifting it too fast and too steep folds the concrete rather than bending it. Using ‘Ben-T-able’ as precedence – Vincent’s methodology was to gradually bend the concrete through different intervals.
Both prototype 12.5 and 12.6 where a huge success and an indicator in representing the new methodology, where the process of bending was the only possible solution to control the undulating edges as well as controlling the geometries of the table.
wk 12.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
PROTOTYPE 12.5 & 12.6
Method:
150
Lift & Hang
151
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 12.7 Outcome:
Learning from Prototypes 12.5 and 12.6, the methodology of lifting rested on the process of time, where the fundamental parameter of achieving deeper undulations and full control of the legs where intertwined with the process of the lift and points of anchor. Working at a 1:1 scale, prototype 12.7 was to test a new methodology, one that aimed at achieving; 1) Edge undulation depth
Finally getting close to the desired depth, the new methodology allowed greater control in achieving the potential bending moments within the concrete mixture. However, resulting in the same problems of the concrete mix still ‘pulling’ away from the mesh, even in the slightest, creates un-desirable moments that disrupt the aesthetic of the undulating scales created by the mesh and force of gravity upon the concrete mixture.
wk 12.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
A NEW METHOD // ‘BEND-MY-TABLE’
2) Leveling the undulations 3) legs and edge articulation.
The methodology looked at the moments of bending, which would control the potential of achieving leg and edge refinement.
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The new methodology was to test the process of bending the concrete through the mesh at different intervals, much like the process used in ‘Ben-T-able’. In hopes of grasping better control of the points of anchoring.
The legs and edges where achieved by trimming the concrete while it was still in its wet state, therefore presented the possibility to refine the structure is within its curing state.
Method:
152
Lift & Hang
153
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 14.1
wk 14.
Outcome: The new concrete mixture was a huge success, one that with my new methodology really worked as the factors of bending and different intervals paired with the wetness of the concrete mixture delayed the curing time which enabled the bending and lifting achieve a better result. As shown, the results of prototype 14.1 created nicer curves and a better articulation of the edges and legs.
Slightly succeeding with prototype 12.7, the main issues of the leg articulation, control of the edges and levelling still constrained the product of a table. The methodology was almost at a point that was able to achieve the final forms of the desired geometry, however to extrude this process the concrete recipe had to be relooked and shaped towards what I wanted it to do. Needing the concrete mix to be a little more flexible and bind together with the mesh a bit more, I tried a couple of mixtures that played with the concrete mix at a wetter state, in which the ratio of water to dry mix increased while the plasticiser to water ratio decreased. The intent was to extend the flexing and bending moments within the concrete mix, while also enabling the concrete mix to still bind together as the mesh is pulled up and starts to act in tension.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
A NEW MIX TO FIT THE METHOD
The black colour was abandoned, due to the fact that, although hiding the imperfections, the black ‘hid’ the scaly undulation; whereas the white colour emphasised the undulations through shadows.
Plasticizer Water
Sand
Prototype 14.1 was a test of the concrete mix, while also testing colourization
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
White Concrete
Method:
154
Lift & Hang
155
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: With the framework achieved, the concrete mixture was nearly defined, and I was close in achieving my final methodology in creating the final table. Although the previous methodology works, I had to alter it slightly, in parallel with the development of the concrete mixture as it allowed me to achieve better control of the form. A new methodology was carried out in prototype 14.2, working at a 1:1 scale. the new method is broken down to: 1) Firstly layering the concrete mixture within the secondary frame to achieve the thickness and levelling of the slab.
3) In the meantime, the main top frame is set ontop of the secondary frame at a close distance to enable the mesh to be hooked onto the top frame to allow the legs to further rest in a bent state (this is to achieve more control of the bending moments later)
Prototype 14.2, was a fail but seen as a great success. Where the leg articulation and edge control was almost to a point that I was happy with. The new methodology allowed me to achieve what I finally wanted. The concrete mix however, was my downfall within this experiment. The mix was too sandy, which made the table too brittle, crumbling as I applied pressure onto it. Already achieving the perfect ratio to allow the concrete mix to be;
wk 14.
1) Bendable 2) Plastic enough to bound with itself, and 3) Cure at a reasonable speed This was the final indicator that would lead me to perfect my concrete mix. The rigidity and structural integrity of the table came not only from the geometrical proportions of its catenary structure but also its ratio of concrete mix.
4) transferred to a higher framework to allow the concrete mixture, along with the force of gravity to pull down on the mesh and create the catenary structure 5) Cure for period of min 1 day in hung position Also looking at controlling the legs through a clearer manipulation of the anchor points I sought to use rights and S-hooks to allow better attachment from the mesh to the frame during the initial phases of the method.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
2) Letting the wet concrete mixture to set over a period of 10 mins.
156
PROTOTYPE 14.2
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
CONSTRUCTING THE FINAL METHOD
157
White Sand
1/4 of Dry Mix
Water
Approx 35% of Dry Mix
Plasticizer
1/8 of of Water
It is crucial that the mix of the concrete lay between the flexibilities of wet and solid, where the mixture does not run off the palms of your hands but bound together as a lump, and is yet able to be thrown into the air like a piece of clay. This is the texture that is desired, one that will allow the mesh to imbue with the concrete properties once in a hanging position but also enable a resistance once time has passed and the mesh solidifies within the concrete mix.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
White Concrete 3/4 of dry Mix
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
158
A] MATERIAL RECIPE
159
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: With the failing success of my prototype I was confident in my ability to refine the key issues of the leg articulation, edge control and levelling so I investigated a slightly new form that appeased my interests. Prototype 14.3 was my attempt at achieving a void within the table by anchoring a point directly in the middle of the frame and anchoring it to the middle of the mesh/ concrete slab. This would, theoretically, lift the middle and slump the concrete within the middle and create extra ridges that added to the structural integrity of the table. At this point, I couldn’t waste time not refining the key issues so it was also crucial for me to also look at how I articulated my legs alongside this process. Using the same hooking process I increased the amount of anchor points on the corners to achieve a better control of the legs. Utilizing the S-hooks I was able to create extra anchor points on the top frame, and re positioning the hooks underneath accordingly, manipulating the points of lift.
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle
The void within this porotype resulted in a crushing failure. So keen on the aesthetic, due to my rash decision making I anchored the middle anchor hook onto a single thread which in turn, snapped as I came back over the weekend. Although this was a fail, the fail was dictated by my own fault and rash decision making. Therefore the fight for the void wasn’t over.
wk 14.
On the other hand, the leg design within prototype 14.3 was a great success. By adding extra hooks enabled me to gain full control of the anchoring points, which in turn added to the methodology of lifting and hanging. Where the legs would want to slump and fall away previously, I can now achieve full articulation of the legs, where the scale-like undulations reached the edges without pulling and creating ugly surfaces.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PROTOTYPE 14.3
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
VOID OR NOT TO VOID
Method:
160
Lift & Hang
161
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: With the failure I had to give it another go Prototype 14.4 was my means of identifying if I should abandon my wants or continue with them, as at this point I still had a lot of refinement within the details of my table to solve. I wanted to push the void so much started since the early days of prototyping, where the void gave the simple geometries a little bit more complexity. Only by using a mesh substructure, the void within the middle was a nation on what is achievable, where the grid of the mesh allowed nodes to be anchored and manipulated, un-achievable if I used any other type of material. Prototype 14.4 was to also further refine the legs articulation and look at how I could carve the edges a bit neater. I found that it was easier to refine these issues during the curing process, where the concrete mixture allowed the flexibility for me to trim the edges of the undulations as well was trim back the legs to create a more levelled outcome.
Material: White concrete, 1:1 ratio Frame Timber Frame, Rectangle
Finally achieving the void within the middle not only gave it the aesthetic appearance I desired but also gave rigidity to the structure. It helped the undulations to pull closer together and create a bit more depth. With having a void however, Adam stressed the refinement details of the hole, where the void created a great aesthetic it also created a main point of interest. By creating the hole distracted the imperfections upon the surface; the issue now was how I resolve the refinements of the hole, on top of everything else, so that it would be flush and neat. Therefore this prompts me to relook at my methodology of casting and including a secondary intent of creating a void.
wk 14.
Through this succession I was able to on look a final methodology, where the leg articulation was achieved, It was the matter of levelling and edge refinement.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
PROTOTYPE 14.4
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
VOID OR NOT TO VOID
Method:
162
Lift & Hang
163
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 15.1 (FINAL)
Finally understanding my concrete mixture and grasping the formwork of my new geometry, it was the simple matter of producing the final table through altering the methodology and refine the major issues of edging and leveling.. Prototype 15.1 was one of my final prototypes which dealt with a new method of casting, involving the manipulation of the mesh to control leveling, while also adhering to the edge and void refinement.
wk 15.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
HANG ME A TABLE // LEVELING
164
Even the slightest stretch in the mesh disaligns the confinement of the geometry. Controlling this stretch proved harder than expected, nearing an impossible level. Total control of the mesh at this point was achievable, but very variable. There are many factors that will also throw off the mesh’s equilibrium. Between creating the mesh and transferring it to the layering process, the chances of the mesh being shifted are very high. Therefore the total control of the mesh has to be taken very seriously. It is crucial that the ‘grain’ of the mesh be considered when setting up the base, as each square of these grids will act in tension once lifted with the concrete ontop, the symmetry will dictate the form/levelling.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
It was found throughout my process that the issue of levelling wasn’t just due to my methodology but more so to do with the manipulation of the mesh before and during the process of casting. As explained earlier, the mesh grid structure followed a simple yet variable grain, where controlling the mesh and levelling of the undulations required the containment of the size and stretch of the grain of the mesh.
165
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Outcome: Adams biggest crit in creating the new form with the inclusion of the void was the articulation of its edges once cured. As the void was a major point of focus, this element had to be refined in order to achieve its aesthetic.
The outcome of final prototype 15.1 was a major success, succeeding in the refinement of the void, the issue of the levelling of the undulation took a step closer to perfection. I admit, although I did everything I could to control the mesh, it still slipped beneath me. Even though the sides that are opposite with one another achieved a levelled out come the other two where varied therefore only creating two levelled table.
wk 15.
The edge articulation within this prototype however, was poor. In controlling the levelling of the undulations, the edge refinement improved but still required extra consideration. Partly succeeding and partly failing, I still had enough time before submission to produce another prototype, one that would achieve, primarily edge refinement whilst also tackling the levelling issue.
LEVEL MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Looking to reduce the amount of sanding I’d have to do to achieve a smoother edge, I looked towards my methodology to control this aspect. Using a simple toilet roll (suiting my perfect dimensions of a 30-40 mm diameter, 1:20 of the table length) allowed me to section off the middle anchoring point from the concrete layering process. In which when removed left a smooth clean void.
166
PROTOTYPE 15.1 (FINAL)
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
HANG ME A TABLE // VOID
167
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 15.2 (FINAL)
wk 15.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
REFINE THAT TABLE // EDGE TRIMMINGS
168
Understanding that if the concrete is flush to the frame, creates a 90 degree edge, which when lifted will bend and fall away from the concrete slab due to the force of gravity. This in turn created the ugly frails and cracking within the previous prototypes. To combat this edge refinement issue, I looked towards my design of making this detail as a ‘hidden’ element. As the concrete table will sit below the eye sight of the person, the once ugly edges will be tucked away folding it into the underside of the table MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Almost achieving the aspect of levelling and no time to waste, my second, final prototype was directed at investigating purely the articulation of the edges. Hoping to be my final piece, this combined all my knowledge and process to establish refinement.
169
EX-LAB: DIGITAL DESIGN FABRICATION_2017
PROTOTYPE 15.2 (FINAL) Outcome:
Altering the table and methodology I understood that by trimming the edges just after removing the secondary frame at a 45 degree angle, when lifted, the concrete would want to bend INWARDS, tucking away the edge detail. This was the only way I was able to achieve a better articulation of the edges, where the cracking and splitting that would be evident become tucked on the underside of the table.
The outcome of final prototype 15.1 was a major success, succeeding in the refinement of the void, the issue of the levelling of the undulation took a step closer to perfection. I admit, although I did everything I could to control the mesh, it still slipped beneath me. Even though the sides that are opposite with one another achieved a levelled out come the other two where varied therefore only creating two levelled table.
wk 15.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
REFINE THAT TABLE // FINAL PROTOTYPE
170
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The edge articulation within this prototype however, was poor. In controlling the levelling of the undulations, the edge refinement improved but still required extra consideration. Partly succeeding and partly failing, I still had enough time before submission to produce another prototype, one that would achieve, primarily edge refinement whilst also tackling the levelling issue.
171
EX-LAB: DIGITAL DESIGN FABRICATION_2017
1
172
1)
Setting up the Mesh
2)
Mixing and Layering the concrete
2
3) Bending the concrete / Lifting the mesh 4)
Refining the Edges and Legs
3 4
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The Final Methodology of my process can be broken down into four main parts which were developed and constructed through both of my final prototypes 15.1 and 15.2. Both tables where the outcome of perfecting my final methodology; representative of achieving the major refinement issues faced within the entirety of my research and investigation within the semester.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
C] METHODOLOGY BREAKDOWN
173
EX-LAB: DIGITAL DESIGN FABRICATION_2017
1 To control and manipulate the mesh; 1) Firstly mark out the dimensions of frame upon the mesh, identifying where the main anchor points (corners) lie.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
SETTING UP THE MESH // EDGE CONTROL
2) After confining the geometry onto the mesh, mark out an even distribution of ‘squares’ to accurately achieve a symmetry when hung 3) Clamp the corners onto the secondary frame to keep the dimensions accurate.
174
5) This is then adjusted accordingly, while keeping in mind the variance in stretch of the mesh.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
4) While the mesh is clamped this is the opportunity to test the depth of the undulations by pulling the mesh on each side to see how much depth is created between two anchor points.
175
EX-LAB: DIGITAL DESIGN FABRICATION_2017
The way I tackled this was to mark the geometry of the frame onto the mesh while using other objects around the perimeter of the frame as weights, i stretched and pulled the mesh below to accurately line up with the framework. The outcome was also a very variable and nearly impossible procedure to get right.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
176
The mesh in the process of casting the concrete was also a factor that I had to control to achieve an accurate outcome of the levelling process. Where the secondary frame was used as a guide to stretch the mesh, the same issue of making sure the mesh was symmetrically the same throughout was a major issue.
177
EX-LAB: DIGITAL DESIGN FABRICATION_2017
ADDING
2
Adding the wet to dry mix gradually allowws the steady control of the desired texture and ‘wetness’ of the mixture.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
GETTING IT JUST RIGHT //MIXING CONCRETE
FOLDING Firstly Folding the mixture together allows the proper integration between the dry and wet mix, making sure the mixture is not too incosistent.
178
Using a Mixing drill bit, the mixing creates a more consistent mixture getting rid of lumps. Making sure at the same time that the mixing is not done too much as it ‘whips’ the cocnrete adding air between the mix.
FEELING The only way to knwo when the concrete is ready is by touching, squeezing and feelign the mixture. This process allows me to check for lumps and kneed out air pockets that may have been trapped during the mixing process.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
MIXING
179
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Layering and flattening the concrete mixture into the secondary frame is the most crucial part of the methodology.as this part intertwines the concrete mixture with the mesh below and creates the thickness of the structure It is important that when layering the concrete, there is a n even distribution of concrete. The setting and curing process is highly determined by the thickness of the slab. The procedure during this phase follows these steps;
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
LAYERING, FLATTENING & SMOOTHENING
1) Layering concrete within the frame 2) Smoothing the concrete into the frame whilst embedding the concrete onto the mesh (it is also important to not allow the concrete to move/slip during this step as the mesh will want to pull once moved)
180
4) Smoothening the concrete further making sure it is levelled ready to be lifted. Making sure that the mesh hasn’t moved, slipped or pulled away, I wait 10 minutes MAX to let the concrete mixture settle before removing the frame.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
3) Pressing the concrete mixture to rid the slab of any air bubbles and pockets created through the mixing of the concrete
181
To create a clean and refined edge for the hole, I had to include a barricade to stop the concrete from spilling and covering the anchor point. By using a toilet roll it enabled be to cover the middle anchor point while creating a barricade and allow the concrete to press up against, thereby creating a flush edge that would determine the hole of the void.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
182
LAYERING THE VOID
183
Trimming Edges at 45 º Angle enabling edges to , when liften, tuck INWARDS MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
184
‘TUCKING’ THE EDGES
185
EX-LAB: DIGITAL DESIGN FABRICATION_2017
3 1) Initial Phase - Anchor Point hang // Hung at ¼ height of depth
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
BENDING CONCRETE // INITIAL PHASE
The initial phase is to grasp the main anchor points, where the corners will be lifted and hooked onto the top frame. This is very important as it reduces the amount the slipping when lifted at a higher angle. By initially bending the concrete at its corners, allows the slab to cure in a bent state before it is further lifted.
186
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The curing process will take approx. 10 mins
187
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
BENDING CONCRETE // SECONDARY PHASE
2) Second phase – Leg Formation // Hung at ½ of Depth
While the concrete is curing during the initial phase, stools are positioned above the previous levelling agents as the process from lifting it from phase 1 to 2 creates and reveals the most problems.
188
by pulling the frame up the force of gravity will pull on the mesh, dragging it down and therefor making the mesh act in tension. This will or won’t pull the concrete away from the mesh, depending the on the concrete mixture and how controlled the mesh was. After getting the frame past the stool height, rest the frame at ½ of the height of the depth, allowing the concrete to just touch the floor. This is to expose the legs while keep the undulation of the edges at a secure level while refining issues confronted within the lift.
This process will take a further 15 - 20 mins to cure.
There will always be a margin for error. As the control of the mesh quite variable, the concrete will sometimes split during this process. The room for error is always accounted for, in which the second phase enables the user/maker to patch these cracks by layering more concrete into the crevasses.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
At this point of the lift there will be issues that arise that perhaps weren’t calculated for, i.e. levelling, mixture too dry …etc it is important that the process is carried out precisely with care.
189
EX-LAB: DIGITAL DESIGN FABRICATION_2017
3) Final Phase – Edge Undulation Control //
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
BENDING CONCRETE // FINAL PHASE
Hung exceeding the height of depth of table After refining the issues, the final procedure of the lift requires the lift of the frame to exceed the height of the depth of the edge undulations to allow the structure to fully hang and enable the user to refine the edges.
190
This is the final stage of the bending process which, if done right, will be hung for the remainder of the cure. The minimum curing time for the concrete to be kept in a hanging position is 1 day, however it takes approx. 3 – 4 days for the concrete to reach its maximum strength. MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
This part of the lift is fairly easy, as the mixture is more at a setting point, the form of the table has begun to solidify and form where the edges and concrete slab has cemented together.
191
EX-LAB: DIGITAL DESIGN FABRICATION_2017
4
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
REFINING THE EDGES
192
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
There is only so much I can do before lifting the concrete, a secondary refinement in the edges will be needed in case of any overflows and miss-calculations that have been overlooked. During this process, cracks and bumps will occur, therefor by using the paver’s knife, trim and smooth the edges to reduce the amount cracking once dried. Within this part of the methodology, it is the time to shape and mould the HangCrete Table, looking at levelling and depth and manipulating the form while in its mouldable state.
193
EX-LAB: DIGITAL DESIGN FABRICATION_2017
194
The minimum curing time for the concrete to be kept in a hanging position is 1 day; however it takes approx. 3 – 4 days for the concrete to reach its maximum strength. During this time, it is very important to check the mesh and anchoring points to see if there are any weak points within the mesh, as well as looking at the frame and the strings that are attached. When all is well, keep the concrete mixture away from environmental factors such as wind and sun. Where moisture is key in developing concrete, it is important that the concrete doesn’t dry out too quickly or it may become brittle.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Once the process of hanging and refining have been completed the structure will have to cure over a certain amount of time to develop rigidity and structural integrity.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
HANGING-OUT
195
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
4 | HANG-CRETE REFINMENT & REFLECTION COLLATING THE FOUR PRINCIPLES // Refining the product
196
Prototype 15.1 achieved a better geometry, levelling and depth but the edge articulation was not as developed as 15.2. With no time to spare, to create another iteration I had refine a table to and ready it for submission. The attachment of the glass table top was the major point of investigation at this point, and the refinement in the details was the major aspect of consideration. Prototype 15.1 was chosen as my final submission table, as the geometries and levelling suited a product of a table much more, where prototype 15.2 is also submitted as a proof of concept of edge articulation. With time constraining my outcome the submission of both prototypes are for proofs of concept, where the final table will be an integration of both prototypes, and developed for the final exhibition.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Prototype 15.2 was a success in terms of edge articulation however did not achieve the perfection within the levelling I’ve been striving for.
197
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
MASTER OF ARCHITECTURE _MSD
198
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
P / 15.2
P / 15.2
199
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
REFINING THE EDGES...LEGS....SURFACE...
200
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
In controlling the edges and surfaces as much as I can, there are always imperfections that arise that might be missed during the curing process. Where there are cracks and splitting during hanging of the concrete, simply sanding down these details will ‘buffer’ the surface. Where concrete is not easily perfected after it has been cured, the process of sanding can only do so much for my table.
201
EX-LAB: DIGITAL DESIGN FABRICATION_2017
Being a major consideration the glass table top was a design aspect that I had not investigated thoroughly. The aspect of integrating the glass top with the table was confined to a circular table top, with a 900 mm diameter to compliment the curves and fluidity of the table.
Due to the fact that the table was not levelled at all four edges, and only levelled at the two highest points resulted in the glass top balancing on two points. Looking at distributing the load of the glass table top, I had to refine the edges of the two levelled points on the table to allow a flat surface that would let the glass table rest firmly.
900 mm
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
The design of the Hang-crete table offered a place for the glass to rest, where the edges of the undulations curved upwards the table top would rest firmly on the levelled points.
202
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
GLASS TABLE TOP
203
In looking to change the balancing act of the glass top on the two undulations, I looked to creating more surface area on the table for the planar surface of the glass to rest upon. By spacing the silicon dots at an equal distance, allowed me to further control the levelling of the table top while also creating a rigid foundation for the table to sit.
MASTER OF ARCHITECTURE _MSD
EX-LAB: DIGITAL DESIGN FABRICATION_2017 SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
204
THE BALANCING ACT
205
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
206
THE BALANCING ACT
207
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
208 209
EX-LAB: DIGITAL DESIGN FABRICATION_2017
The final object has never been the point of interest for me within this project; a driving force but more so a product of a methodology of integrating material manipulation and craft through iterative prototyping, a back and forth between computational adaptation and rapid prototyping.
210
The entirety of my research and investigation was constructed around the theoretical frame work to produce a methodology and therefore product, I feel however, that I had been too swept up in this process and slightly diverged from what this unit was about; to produce a final and fully articulated furniture piece. In my process and in the midst of trying to refine every detail of my table, whilst also developing the methodology and theoretical framework of my piece, I feel I lost sight of the integration between the table and the table top, a design aspect that I hope to refine at a later date.
As the process and conceptual framework was cemented (pun intended) into the idea of ‘self-organisation’ there was only so much I, the user, could manipulate, push pull and control without then leaving it to the concrete, mesh structure and the force of gravity itself do the work, creating form AND structure. The Final Methodology was a construct of my total understanding of; The Force, The Material, The framework, and The Methodology, Principles that have been intertwined with each other to establish an alternative approach in construction, where the final outcome is a coffee table, the process and method is representative of something more. In summary, the outcome of the coffee table was a success, however, as the refinement and perfection of the craft continues to delude me, the inner perfectionist calls for a final reach for one last prototype for the exhibition.
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
Although, there are many that have tapped into the ideas of catenary structures and utilizing mesh structures to grasp minimal surfaces and form finding exercises; within my very own process/ methodology I seek to look at different ways we can deal with these possibilities through a new perspective constructed and represented through the physicality of a coffee table.
Through countless failures, errors, heartbreaks, confusion and, did I mention, failures; produced steep learning curves that had me jolting off in tangents and iterating through ideas rapidly. There was no time for heart break, but to drown it out with more prototypes.
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
FINAL SUMMARY
211
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
212
FIN?
213
EX-LAB: DIGITAL DESIGN FABRICATION_2017
214
P / 14.4
P / 15.1
P / 15.2
Producing two satisfying outcomes, I had yet to achieve a singular table that I was happy of exhibiting. Both prototypes 15.1 and 15.2 where great successes but still needed refinements in some areas. Where; Prototype 15.1 succeeded the geometry, levelling and aesthetic issues Prototype 15.2 achieved a flush articulation of the edges In terms of the exhibition, my goal is to combine the two prototypes and achieve one last table, perfecting my craft and achieving the issues of; Depth Leveling, and Edge Refinement
Leveling, Geometry & Depth
Edge Refinement
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
P / 14.3
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
REFLECTING FOR EXHIBITION
215
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
216 217
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
218 219
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
220 221
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
222 223
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
224 225
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
226 227
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
228 229
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
230 231
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
232 233
MASTER OF ARCHITECTURE _MSD
SELF-ORGANIZED FURNITURE // HANG-GRETE TABLE
EX-LAB: DIGITAL DESIGN FABRICATION_2017
STUDIO LEADERS: JAS JOHNSON & ADAM MARKOWITZ
234 235