Behavioural Informations

BEHAVIORAL inFORMATIONS Workshop_1 Tutors: Mustafa El Sayed, Apostolos Despotidis Federico Borello | Nicolas Tornero | Omar Ibraz | Philipp Siedler

BEHAVIORAL inFORMATIONS

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References Process Tree Topology_1.0: Continuous Boundary Topology_2.0: Single Discrete Boundary Topology_3.0: Two Discrete Boundaries Topology_4.0: Four Discrete Boundaries Topology_5.0: Six Discrete Boundaries Topology_6.0: Seven Discrete Boundaries

Topology + Form Active Structures

References

Behavioral inFormations

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Continuous Boundaries Geometry

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Behavioral inFormations

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Discrete Boundaries Geometry

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Behavioral inFormations

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Minimal Surface

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Behavioral inFormations

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Matsys Design - Wall Seven Star

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Behavioral inFormations

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Mike Goodlett

Pudelma Paviljonki

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Behavioral inFormations

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Workshop Brief

This booklet consists of the work produced during the first workshop in phase one, a material workshop, at the beginning of the Design Research Laboratory (DRL) program at the Architectural Association, School of Architecture in London with Mustafa El Sayed and Apostolis Despotidis Great dedication and effort was put in, to accomplish what is shown in this compendium of iterations, by Federico Borello (Italy), Omar Ibraz (India), Nicolas Tornero (Chile) and Philipp Siedler (Germany).

The objective of the workshop was to execute a series of experiments towards a final model in about man sized scale. Only three materials where allowed to be used in the process of fabrication: 1. Lycra fabric, also known as swimsuit fabric, a in all directions very flexible and strong fabric, 2. Nylon thread and 3. customary plaster, for example Plaster of Paris. Earlier workshops with same parameters tended to show two different types of structural and geometrical results: 1. Patterns aiming to increase structural performance of a geometry and 2. Complex micro patterning.

The basic process of the experiment was to come up with a global shape, so the form of the Lycra pieces, stitched together to a more complex geometry not to be achieved from a single piece cut-out, and a pattern connecting and constraining the flexibility of the Lycra. This stitched piece is then hung into a wooden frame and filled with plaster, best as wet as possible to ensure that the geometry is filled up from bottom to top, in every edge and seam.

Our goal was to integrate both of this points, generating a final model with high structural performance in close relation to the applied pattern, feedbacking each other back and forth. To sum up: Three points to be considered:

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1. The material system Lycra + plaster 2. Global shape and assembly of pieces 3. Micro pattern spread and application. We aimed for the closest and most influential correlation between this two points: 1. Global shape and 2.

Micro pattern, so the micro pattern would enhance overall structural performance and the global shape would give the micro pattern spaces to manipulate and constrain, instead of treating each point individually.

After a couple of iterations and tries working with plaster and Lycra, the interest in vertical and column like structures increased. Obviously the more stable geometry in terms of the profile type would be a solid. Coming from this point of view applying pressure points and constrains takes away material from the column or makes it asymmetric which weakens the static performance immensely. So our challenge was to find a way to manipulate the profile with the micro pattern complimenting the overall geometries stability.

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Iteration 1.0

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Behavioral inFormations

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Iteration

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Iteration_1.0 This first cast was done to get comfortable with the casting process and the material behaviour of the Lycra and the plaster.

The initial shape is a rectangular double layered “pillow” which is stitched together on all four edges. The corners of the “pillow” were skipped to leave openings which are used to pour the liquid plaster with the help of funnels.

By connecting the top and bottom layer pressure points appear in the casting.

Different patterns of pressure-points and lines are applied onto the “pillow”. To understand how they manipulate the flow of plaster and the overall geometry of the cast four different patterns are stitched: Lines against and with the flow, in the direction of force-vectors and a distribution of pressure points.

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Continuous Boundary

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Iteration_1.0 Since the first cast was focusing on surface patterns and pressure points the second cast’s goal was to experiment with a type of manipulation which modifies the overall shape of the geometry. A bag-like shape was stitched together with a large top opening.

Equally but antisymmetric distributed points on the face of the “bag� are marked. To create the most complex geometry with the lowest number of stitched connections, pairs of points were selected, on opposite sides, with the largest distance in between the space of the bag and stitched together.

The vertices of the top opening are used to brace the Lycra mold into the wooden frame with fishing line, attached to hooks on the frame.

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Iteration_2.0 To understand behaviour of material and pattern the aim was to initially generate three models with a highest possible contrast. The logic next step after: A single boundary surface and a discrete surface with one naked edge was to create a tube-like shape with two naked edges. A first attempt to control gravity in relation to the plaster flow was examined with a simple tube of a rectangular piece of fabric, stitched together along the long side.

Circular plates of MDF were introduced to the bottom and the top. Horizontal constraints were stitched onto the surface of the tube. To achieve almost similar expansion of the fabric mold post casting, horizontal lines from bottom to top were introduced in a gradient manner from dense to sparse.

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Iteration_3.0 Parallel to the horizontal gradient lines on surface experiment a second iteration was examined where opposite sides were point connected to achieve a more complex result, in geometric means. The flat sheet was marked with the same gradient grid of horizontal help lines to control the gravity and achieve a consistent silhouette of the overall shape. By dividing the sheet in two halves the two sides which are being connected are differentiated and can be treated accordingly. Two similar parabolas were drawn onto the sheet.

Intersections of grid and parabola are pointed out on each side of the division.

After stitching together the tube, intersection points on opposite sides are paired up and connected by a spot stitch.

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Iteration_1.0 After a series of manual models, simulations were done in Autodesk Maya, to generate more different iterations in a faster way and to understand the effect of manipulation of the low polygon geometry on the overall outcome, the inflated geometry.

Iteration 1.0 was simulated in Maya and panelled in Rhinoceros Grasshopper.

The patches of fabric where stitched together according to the digital model.

Two vertical “pillars� connected in the centre piece, twisting around each other. Introducing a variety of changes in the profiles of the overall shape, small to large, from top to bottom, to work with the gravity, led to different extends of expansion in local areas and the global model post casting.

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Iteration_2.0 Intent: As a next step a three-legged geometry was created, emerging from the two-legged, two-headed iteration before, to achieve more statical stability.

Flat fabric: The three legs merge into one head which is larger in diameter than the legs. The fabric mold was prepared from one piece, with three naked edges on the bottom side of each leg and one on the top of the head, where also plaster was poured from.

The horizontal gradient grid is also applied in this iteration.

Inflated fabric: The inside of the legs are merging in one point. Three lines, each starting from one of three legs of the geometry, drawn upwards in a lateral manner. To control the surface of the large head and the centre of the geometry, pinching lines as additional

pressure points are applied extending over the centre transitioning from the legs up, to the top of the geometry.

Result: The two major macro patterns apply rotation very well. Also the horizontal grid controls the profile width in an intended manner.

Conclusion: For the fact that the patterning and shape of the fabric is produced in a rigid way the outcome is too uncontrolled and chaotic. The twisting starting at the bottom of each leg is detached from the single top piece. The centre of gravity is not considered. For especially surfaces in the transition zone in the centre are too large. A third pattern in micro scale needs to be applied, to control areas between the lateral lines from the macro pattern, which causes the twist on each leg.

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Iteration_1.0 Intent: To enhance the balance and steadfastness of the structural performance of the geometry, the centre of gravity needed to be controlled and manipulated. Iteration 1.0 is weakened by it’s large single head, by splitting it up into three, the geometry topology is symmetric and also the centre point of gravity is positioned in a more beneficial way.

Flat fabric: Instead of one piece three large pieces, which form the outside of the global geometry, and two small pieces, on the inside, are stitched together to form one leg with four faces.

This also enables the possibility to apply surface patterns and pressure points in a very accurate and diagrammatic way.

Inflated fabric: There is one lateral help line on each leg intersecting with the horizontal grid lines which form

the points for the twist. The twisting is done by pressure points from pairs of two points of opposite sides of the leg.

The transition between legs and heads is executed as pinching points on surface in the centre of the geometry.

Two triangular pieces are attached in the middle of the geometry to connect the three legs.

Result: Through the horizontal grid gravity is controlled throughout the inflated geometry. The intended twist is growing up each leg in a clean and static way.

Conclusion: Due to an error of direction in the weaving pattern of the fabric, two of three legs behaved in different ways. Even though the pressure points caused a static continues twist, the twist does not supplement the global collective of the geometry.

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Topology Evolution

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Iteration_2.0 Intent: Moving forward with the threelegged, three-headed concept going up in scale was the next step.

Flat fabric: The size of the flat sheet’s height was increased by twenty centimetres, about 120 cm tall inflated with plaster. Iteration 2.0 was done in a total of three legs, each six pieces of Lycra stitched together, but a total number of 12 pieces because the inner faces of each leg are kept together in one piece and shared by pairs of legs.

Inflated fabric: The pattern of the horizontal grid was changed so the profile expansion of the extremes and angles would be increased, the middle of the leg would stay thinner through a denser grid pattern. The help line for the pressure point connections is applied so it starts at the bottom of each leg and end at the top of the

neighbouring.

Result: A very controlled outcome: Dominated by the increase in scale the amount of plaster and it’s weight define the global shape in a major way.

Conclusion: The centre point of the structure is well placed, overall it is a stable and balanced outcome. Even though gravity constraints were applied within the patterning, the bottom clearly is fatter and bulkier than the top which also makes the three top heads statically weaker compared to their equivalent legs on the bottom.

Unfortunately the attempt to continue the twist throughout the centre part of the geometry failed: The attachment internal pressure point connections snapped. Also the pieces should have been double stitched, the seams cracked at many spots while casting.

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Iteration_3.0 Intent: After over 12 iterations of micro pattern experimentation this is the first larger scale three-legged and three-headed geometry cast with an introduced micro pattern.

Flat fabric: The pieces themselves are decreasing in width from top to bottom to constrain the gravity and the increased amount of plaster and it’s weight. Between the lateral lines, which help mark the intersections for the twisting pattern pressure point pairs, two horizontal lines are applied for each horizontal grid line, with equal distances to the lateral line and each other. Those lines are split in half and the halves are stitched together to form a line as pressure point, like a clamp, which is the micro pattern.

Inflated fabric: Iteration 3.0 also inherits the shifting of the lateral line

from “leg 1” to “head 2” instead of from “leg 1” to “head 1”, which globally interweaves all three patterns in a continuous integrating way.

Result: The outcome of Iteration 3.0 is quiet thinner than expected.

Even though more fabric was used in horizontal direction, to generate a thicker profile and in vertical direction to get a taller result.

Conclusion: Iteration 3.0 is probably the most controlled global iteration We achieved exactly what was intended with the micro pattern. Unfortunately the proportion of used fabric, profile thickness and density or frequency of the micro pattern was not applied in a coherent way, which led to instable situations along the structure and too thin cross sections.

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PATTERN 70mm 18.50mm 15.35mm 13.49mm 12.33mm 12.34mm 15.32mm 18.37mm 55mm

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Iteration_1.0 Intend: The final model’s challenge was to integrate all the research and findings into one large structure.

Interweaving of cross branches was additionaly introduced to show that the system of patterns is applicable to any n-discrete boundary geometry.

Flat fabric: Since the geometry of this piece is quiet complex the devision into logic and easy to fabricate pieces was another task to face. Each side is devided into an inner and outer piece, The outer piece covers the “facade�, surfaces facing outward, the inner piece are two circuits interwoven with the inner pieces of the other two sides.

The horizontal grid was widened, the smallest distance minimized to 4 cm and the largest up to 9 cm. Also the distance between the micro pattern clamps was widened and shifted inbetween the connecting pressure

points in accordance to the grid, instead of aligning them with those.

Inflated fabric: In order to control the pressure at the base of the model and keep the centre of gravity low the width and pattern at the lower sections were increased. One of the difficult tasks here was to wrap the patterna round the complicated pieces.

Result: The cast was controlled and is dominated by the patterning seen on the lower legs through to the top. It was noticed however, that as the top was restrained the global model was unable to freely achieve the intended rotation.

Conclusion: The piece shows the possibilities of casting extremely large structures using strategic patterning to create structural elements and at the same time reducing the amount of plaster needed.

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PATTERN 70mm 18.50mm 15.35mm 13.49mm 12.33mm 12.34mm 15.32mm 18.37mm 55mm

18.50mm 15.35mm 13.49mm 12.33mm 12.34mm 15.32mm 18.37mm

18.50mm 15.35mm 13.49mm 12.33mm 12.34mm 15.32mm 18.37mm

Topology_6.0

Seven Discrete Boundaries

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Flow Diagram

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Seven Discrete Boundaries

Topology_6.0

Surface Pattern

Topology_6.0

Seven Discrete Boundaries

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BEHAVIORAL inFORMATIONS