BPro RC6 2013/14_TecKnit

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Yana Andreeva Tomas Santacruz Despoina Tsalagka

Yana Andreeva Tomas Santacruz Despoina Tsalagka

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Yana Andreeva Tomas Santacruz Despoina Tsalagka TecKnit TEAM

Daniel Widrig Stefan Bassing | Soomeen Hahm TUTORS

The Bartlett School of Architecture University College London MArch Graduate Architectural Design CLUSTER 06

2013-2014

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i n d e x

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Initial Research

VIII column Fabrication

-References -Knitting Loops -Pattern Studies -Stitch Simulation

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II craft development

-Balloon Constraints -Model one -Smart Box Control -Model two -Model three

Continuous Casting

-Fabrication Process -Material Research -Upscale the Knitting -Balloon Technique

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Wrinkle Surfaces

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18 20 22 24

III prototypes

-Form Finding -Structural Analysis -Final Design -Physical Model

108 109 110 112

iX Design Research -Prototype Series one -Prototype Series two -Combination Tests -Cement Casting -Material Conclusions

IV Furniture Scale

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108 122 141

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X Spatial Units

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Chair Type one

Chair Type two (Open ends)

Chair Type three (close ends)

Fabrication Process one

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Fabrication Process two

Physical model

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XI Spatial unit aggregation 160

-Gothic Reference -Tool Exploration -Form Finding -Cluster Configuration -Space Definition

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XII Stitching The urban Fabric

V Column -Braided-Fused Columns

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VI archetypes 74

-Geometry exploration -Spatial Shapes

VII Architectural Scale PAvillion

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-Textile Chair

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-Bridge Condition -Vault Replacement

small

-Carbon Fibre Chairs

Form Finding

-Design Components - Pavillion Design

-Component simulation -Processing Tool -Transitional Configuration

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medium 80 82

-Sofia Scenario -River Bank -Site Proposal -Bridge Close-up

large 192 196 198 202

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craft technique

initial Research

knitting

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Johan Ku

volume dress

Christina Doumpioti

monocoque structures

Henrique Oliveira

Organic structures

references design ideas

Using the folding technique and the high-resolution strands, the artist creates unique volumes. The idea to create Monocoque structures to create a self standing system and the resemblance to nature are reference ideas for the project

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KNITTING LOOPS surface conditions

loop transfer, pattern study

Missed stitch, pattern study

first scale interlooping

The knit Stitch . Basic inter-lopping formations for textiles. Stitches are made by a single threat that loops in between other loops to create a surface with good stretching potential.

loop increase, pattern study

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LESS DENSE

KNUPF STITCH

MORE DENSER

EMPTY STITCH

LOOP TRANSFER

TUCK STITCH

FLOAT STITCH

KNIT STITCH

interloop variations first scale

The density variations were also part of the pattern studies.

This resulted in the understanding that the different stitches can create a variety of loops and compositions

3D printing Test

3D printing approach fabrication methods

The 3D printing of the pattern was used as a way to study the behaviour of the simple pattern, understand the interlooping behaviour and the possible structural advantages that it may have.

PURL STITCH

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PATTERN STUDIES surface conditions

The knitting technique analysis began with pattern exploration in order to get acknowledgement of the basic principles laid down in this long-time known craft.

This catalogue of basic patterns became our vocabulary to work with. Getting a closer look in the smallest “ingredients“ used for a fabric surface creation helped the team make important conclusions of how their combination and application would affect the final result, about the different conditions and behaviour that can be observed in it. By understanding the basic principles we will be able to control the density, transparency, scale, etc.

During the first term we were working with the most common ones-knit and pearl stitch, because of their similarity. The same stitch is used in both of them but the second one is used for the creation of concave topography due to the opposite orientation of the needles in every second row. This was proven both digitally and physically.

By using this vocabulary we were able to define all the areas of a surface by a number and a letter- the number of stitches and the type of the stitch.

pattern configurations formal study

pattern configurations line and stitch study

Pattern result

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stitch simulation tubular geometry

A digital experiment using Softimage was tested in order to examine how the predefined location and behaviour associated with every pattern(colour) will affect the appearance of our basic component-the tube. We created a code in which every colour represents a specific knitting pattern.

The gradient in between 2 colours is the zone of transition in which the pattern transforms in term of technique, density, type,etc.

In such a way every area in the system is defined by the elements it consists of and the elements themselves-by the stitch code.

Under those conditions the object was transforming under different forces so there were areas of expansion and ones of shrinkage. These were chosen with regard to the idea of volume creation over the surface of the tubes.

stitch simulations phase 1

phase 2

initial geometry

expand yellow

retract yellow

deformation

phase 3

phase 4

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physical testing

craft development

prototypes

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Fabrication process craft research

In order to increase the scale of the already examined patterns, an increase of the scale of the loops was tested. We tried knitting with our arms being the tool instead of the needles. The result was a surface with big porosity and volume.

At lower scale the same happened with finger knitting. The resulting object of the letter was further used as a raw material for arm knitting and in such a way a higher resolution was achieved.

Together with the conventional needle knitting we tested a knitting machine with which formation of patterns was possible. However the process was consuming too much time as well.

arm knitting

Machine knitting

FINGER knitting

knidle knitting

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PRODUCTION METHODS scales

resolution 1

resolution 1

resolution 1

resolution 2

resolution 2

MECHANICAL

resolution 4

resolution 3

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MATERIAL RESEARCH craft research

initial materials first stage of material testing. WOOL YARN. primary knitting material - different patterns we achieved.

- elastic behaviour

natural fibers MANILA YARN - less elasticity - hairy finish

metalic mesh COPPER WIRE - knitted partterns are achieved - less elasticity - high tendency of deformation due to material composition

clay forms can easily be braided

fish line resulted in very low elasticity

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composite materials WOOL - PLASTER combination

tubilar shapes can be made mantaining the knitting pattern

composite materials

hemp-wool combination

wax wool wrinkles

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upscale the knitting Braiding and Knotting

knitting loops

braided form

Second scale increasing resolution

The braiding condition was extracted from the interlooping of the knitting craft. By doing so it made us rethink the resolution of the project and increased the geometry to see it into another scale.

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wool yarn + plaster plastic tubes

knitted metalic tubes

carbon fiber sleeves plastic tubes

Simple knot

Balloon mold. Sim

MOULD FINDING fabrication methods

The process for finding the mould for the tubular shapes consisted on a series of tests that started with he use of plastic tubes to later evolve into the simple lightweight balloon technique.

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balloon technique mold finding

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The knots and braids are made by three simple elements which are an air pump,some rubber bands to hold the structure and qualitex balloons. The simplicity of this craft allows to bend and to braid a knot while still being self supportive.

The material and the fact that it can disappear instantly makes it a good candidate for a mould,however it’s also the risk during the casting process. The main problem that occurs during this method of fabrication is the early deflation or popping of some of the balloons which leads to the necessity for a rapid application of the stiffening agents on the surface of the fabric or the replacement of the damaged parts.

This is the reason why plaster works more effectively with this method because no curing processes occur during its solidification.

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initial

prototypes knots

thick yarn prototypes

BRAIDS

thin yarn prototypes

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simple knot balloon mold+ plaster/fabric

Balloon mold. Simple knot

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PROTOTYPE SERIES I The knot

To change the scale of the physical models, the scale of the yarn was modified. The dimensions were bigger, the characteristics of the object were the same but it was more material consuming due to the bigger level of absorption of the raw material. The conclusions were that increasing the scale of the yarn is not an advantage for the project because it was more material and time consuming and with not an optimum visual appearance.

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simple knot balloon mold+ plaster/fabric

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Twin helix braid.

Materials: - wool yarn - resin plaster

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PROTOTYPE SERIES iI braids

Using the balloon technique we were able to create small prototypes of some of the basic connections that we will further use in our design. By doing so we could observe how those pieces can be joined together in a bigger structure,how stable they are, to make conclusions about the integrity and transition smoothness.

Due to the large area of contact between the surfaces the resulting objects were strong and stiff. The process could be characterized as fast,cost-efficient and successful in terms of the correlation initial intention- end result.

The usage of only one size of balloons makes it possible for the different components to be arranged in various combinations and joined together.

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Combination tests aggregation of pieces

prototypes

2.

1.

single braid Helix formation

double braid twin helix braid

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combination of braids tube

double braids

single braid

single braid

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cement casting reinforced textile braid

stage 1- preview of braid before PVA glue impregnation and cast.

braided prototype

stage 2- preview of braid after PVA glue impregnation and cast.

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fabrication

material conclusions prototypes and test

Our experiments showed the combination of plaster and yarn is the most appropriate one for our work. The process is fast and cost-effective. Using this material we achieve highresolution prototype on which our concept was initially based.

The cement filament on the other hand makes the prototype strong and structural as well as it contributes to the visual perception by adding another layer to the outer appearance.

Due to the fact that the plastic tubes remained as a part of the structure in both plaster-yarn and carbon sleeves-resin configurations, we were unable to judge the self-supporting potential of the other two experiments. Furthermore in terms of cost and risk assessment,carbon fibre is not an appropriate material to work with.

The knitted metal mesh remains as a potential option for further experiments in which it will be used as a supporting layer in a composite material.

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small

furniture scale CARBON FIBBER CHAIRN CHAIR 1

textile chair CHAIR 2

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form finding

increasing braiding complexity

form exploration with the knots and braid

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braid increment

stability & strength

endings and stability exploration. endless vs continuous end

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form finding & fabrication

CARBON FIBRE CHAIR open endings

After several steps of exploration, the braid became much more complex. The form finding process initially started with a simple braid and went through several transformations in order to clarify the connections in different areas-open spaces,endings of the tubes on the ground, continuous loops intersections.

The fabrication process of the chair gave us the understanding of the necessity to use shorter tubes and more complex connections,as well as more detailed and fortified connections in the areas that will bear the main loads.

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SE AT

BA CK

initial form finding research

EXP AND

SE AT

BA CK

LEG

S

EXP AND

EXP AND

LEG S

SE AT

BA CK

LEGS

EXP AND

EXP AND

EXP AND

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form finding

chair type 1 non-tubular shape

The variation in the strand size made it difficult to produce with the balloon technique. The design had to be re-adapted according to the craft technique.

The symmetrical approach was kept to maintain the braided language. However the lack of knots and braids in some areas made the chair unstable

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form finding

open ends chair type 2 tubular shape

An open end approach was taken to test the way the chair touch the ground. The top part was as well used with an open end to test the form

Two different diameters where used to create the chair. The first diameter was going to be used to stabilise the geometry.

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form finding

close ends chair type 3 tubular shape

The close end approach was made with more braids and knots. The continuity of the geometry made it more stable and structural.

Overlapping the braids will result in a more complex geometry. The loops and turns can be achieve with the use of the balloon mould.

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close ends chair

fabrication process tubular shape

physical model tubular shape

As a supporting structure for our fabrication process a real chair was placed underneath. A scaffold of balloons was made around it and after that wrapped with carbon fibre threads. The threads were previously extracted manually from a carbon fibre mesh. An unforeseen circumstance was the untimely deflation of the balloons before we could reach the phase of the resin application as a stiffening agent. Some of the balloons were also popping and in this way making the production process really time consuming the difficult because of the replacements that were needed.

Several conclusions were made over this experiment- the finishing result was not with a good quality because of the hairy character of carbon fibre threads, the longer tubes were not self-supporting as opposed to the more intricate knots and connections of the shorter pieces. As a result the upper more complex part of the chair was strong unlike the bottom one.

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In an attempt to test the braiding and the knotting techniques, a chair was developed alongside with the balloon craft. In this way the new carbon fibre material was tested.

The carbon fibre threads where placed over the balloons to cover the tube and achieve the shape. Of the design proposal. The threats where rapping the tubular geometry and allowed it to resemble the braided language.

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form finding

textile chair design variations

Taking into consideration the constraints of the fabrication process. The balloon process had to go back to the fabric+plaster combination. By doing so it was easier to maintain the shape from the original designs and so possible to fabricate. tube diameter variations

array testing

knot exploration

diameter variation

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primary structure braid & knot

secondary structure array

secondary structure array

secondary structure array

primary structure braid & knot

secondary structure array

primary structure braid & knot

chair views

front

top

side

back

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design

textile chair digital model

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fabrication

textile chair physical model

first layer of plaster application done by brush

the smartbox allows us to manipulate the chair to apply and coat all of the tubes.

after applying the layer of resin the second layer of tubes crate an array to create a more surface condition

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fabrication

textile chair physical model

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medium

ARCHITECTURal scale BRAIDED COLUMN COLUMN 1 pavillion

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form finding

braided fuse column non-tubular shape

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twisted shapes and forms

rotated fuse columns

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form finding

braided-fuse column 2 non-tubular shape

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The conclusions made over the experiments showed us that the result of using the craft of knitting will always be a two dimensional surface so we decided to introduce another technique as well.

Braiding and weaving appeared as additional tools during our column design process.

It could be observed that by using only simple manipulations like twisting, rotating and braiding different areas of fusion, bifurcation with higher or lower level of density and complexity could be achieved.

twist

braid

array

fuse

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FUSE BRAID COLUMN initial design

fusion

fusion

bifurcation

bifurcation

wrinkle

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1. crown

Tubes merge together to form a single line tube to later bifurcate into different tubes.

This will create a crown capital for the column design

2. core

Tubes bifurcate to create a bigger shaft. An opening through the braided parts of the column appears to create and empty space.

This will create an expansion for linear design and a change in vocabulary for the parts of the column.

The base then wrinkles like folded fabric to create a solid shape deformed but united

3. base

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medium

Archetypes arch-vault-window spatial study

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geometry exploration

Archetypes tubular braids

Having in mind the constraints and possibilities of the fabrication process, we started to make studies for our system. We then began to design several architectural archetypes to further explore our options.

We started with the design of a gate proposal that would consider the braiding and diameter changes to create vertical and horizontal elements. Always ending on the ground the asymmetrical approach allows us to create a sitting area on the bottom of the structure. The arch on the other hand creates a void and perforation possibilities that start to play with its form to have a more natural result.

Finally a vault archetype that is the initial attempt to create space. By doing so the vertical elements become much more defined (columns) and so does the interior spacial configuration.

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void window

vault

arch

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geometry exploration

spatial shapes tubular braids

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medium

ARCHITECTURal scale BRAIDED+Knot COLUMN COLUMN 2 pavillion

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geometry exploration

design components configurations

In order to achieve higher level of control over the design, complexity and to avoid random results a system of four basic components was designed. By experimenting with the number of elements and their position in a structure we can reach bigger strength in areas where it is needed more, transparency, intricacy of the design.

a

b

c

d

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geometry exploration

column approach

b

a

a

d

aggregation system

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geometry exploration

Pavilion configurations

A staring point was s simple braided column, a roof structure and the transition area in between them in order to determine the problematic zones and clarify the types of components that we need.

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geometry exploration

Column formation configurations

The proposal for a spatial application of this system is a structure composed of 5 basic components multiplied and combined in a different way depending on the structural role of the area in which they are applied. The roof part is double layered and composed of six interwoven arches and a net-like horizontal layer (of 3 components )underneath.

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medium

column fabrication prototypes BRAIDED+Knot COLUMN COLUMN 3

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prototypes BALLOON CONSTRAINTS fabrication process

as part of the fabrication process it was important to consider the length limit of the balloons. The angles of twisting and knotting had to be study to be able to fabricate and create the column.

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1. diameter change

twists and braids with two diameter balloons

2. braid

interlooping with higher control

3. knot

knots and braids in higher level of fabrication

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MODEL I balloons mould with fabric

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Not symmetrical form.

Difficulty to control the shape without a frame.

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matrices

smart box control fabrication process

smartbox fabrication system

box aggregation

initial and ending control of the overall shape

allows the uncasted sleeves to be re shape on the next level

elastic matrix

1.

initial and ending control of the overall shape

height

2

elastic matrix loop definition and shape modification

elastic matrix

initial and ending control of the overall shape

uncasted sleeves. to overlap with the new box, completing a taller component

continous casting

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uncasted sleeves for continuous fabrication

uncasted sleeves

matrix control

height

continous casting matrix control

endings

endings

end points for stability

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MODEL II smart box control

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model II

RESULT FORM

prototypes

braid and knot configurations

double knot and double braids

With the help of the smart boxes the control of the form was more successful. The line of symmetry was achieved in a better way but the application process of the resin after deflating the balloons created a very fragile skin that deform some parts of the prototypes

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model II

CONCLUSIONS

rubber band removal and popping of balloons before resin application

pattern visibility, and good loop configurations

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MODEL III additional “base� matrix

Adding a third layer matrix to control the shape of the endings/base

built a 3D box with 3 matrices cover balloons with textile sleeves braiding and knotting balloons applying epoxy resin

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model III

CONTINUOUS CASTING uncasted sleeves

1. continuous casting sleeves

unsymmetrical side

2. open endings to create a base

By this method the production method achieved a higher level of control that allowed us to create a base structure for the components of the column. It also help us test the continuous casting of the sleeve production.

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matrix still in position

second diameter tubes wrinkle proposal in smartbox

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model III

wrinkle surfaces second balloon layer

second diameter tubes wrinkle proposal

correct proportion increase density & stability

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column fabrication

2.1m of height

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Column final design form finding

processing simulation

Using the script of flocking simulation, the code allows the agents to braid and create the first layer of lines that will become the big diameter tubes. These tubes are the structural tubes that run the forces and allow the column to stand up by itself.

The second layer becomes a sub-layer that not only works as a form exploration geometry but work as a reinforcement for the base and the capital.

primary structure core lines

secondry structure layering lines

capital

shaft

base

combine structure core lines and secondary lines

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structural Analysis millipede plug-in

lower stress

active force + gravity

ground points

initial curves analysed

secondary curves analysed

third layer of curves analysed

combined curves analysis

re-braided area higher stress point

higher stress

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Column final design line extraction

piping the curves

The next step is to export the point from processing and import them in rhino to extract the lines that work for the column. By using the grasshopper scripts, the two diameters of tubes are piped and the final geometry is accomplished.

primary structure core lines

secondry structure layering lines

combine structure core lines and secondary lines

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Column DESIGN PHYSICAL MODEL smartbox & balloon cast

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1:1 scale physical model

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design research simulations-form finding spatial study

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catalogue creation component simulation increasing complexity

*parameters: pop_p= 100 n of emitters=5 n of attractors=28

d Weight= 0.5 att strength = 0.505 att radius= 250

d Weight= 0.5 rep strength = 0.1 rep radius= 100

The flocking script allowed to the design to migrate from manual modelling to script simulation with the use of processing. The basic tool consists on using a series of attractor and repellers to direct the flocking into braid like conditions.

Now by altering the attractors and repeller points the project could obtain different kind of forms and different types of components. From branching conditions to linear components the study of the script allowed to generate an interesting digital study of the braids.

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frame: 600

frame: 1902

frame: 1350

frame: 2400

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catalogue creation processing tool increasing complexity

flocking simulation of agents emitter region repeller points

attractor point

attractor points

repeller point

emitter region emitter region

control area of number of agents being emitted

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The processing script that uses flocking agents moving along the boundary box is control mainly by three specific parameters. The emitter position and number of agents, the attractor points and the repeller points.

By positioning these three elements in different locations, the overall result can significantly change and so a control variation of components was be created. Later on, the extraction of lines is used in rhino to determine the right lines for the braiding forms and the overall chosen geometry.

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catalogue type I component simulation increasing complexity

frame: 201

frame: 850

frame: 1670

frame: 1950

*parameters: pop_p= 80 n of emitters=4 n of attractors=4

d Weight= 0.5 att strength = 0.4 att radius= 200

d Weight= 0.5 rep strength = 0.1 rep radius= 100

frame: 1380

frame: 2465

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step 1

step 2

final line simulation

line extraction and meshing

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catalogue type II component simulation increasing complexity

frame: 450

frame: 1758

frame: 620

frame: 1987

*parameters: pop_p= 100 n of emitters=5 n of attractors=28

d Weight= 0.5 att strength = 0.505 att radius= 250

d Weight= 0.5 rep strength = 0.1 rep radius= 100

frame: 1560

frame: 2346

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step 1

final line simulation

step 2

line extraction and meshing

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catalogue type III component simulation increasing complexity

frame: 325

frame: 1530

frame: 712

frame: 1810

*parameters: pop_p= 100 n of emitters=8 n of attractors=24

d Weight= 0.6 att strength = 0.7 att radius= 200

d Weight= 0.5 rep strength = 0.5 rep radius= 200

frame: 1430

frame: 1987

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step 1

final line simulation

step 2

line extraction and meshing

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catalogue type iV Branching optimization structural stability

branching comp 1

initial output line optimization = 0

branching comp 2 initial point count

second output line optimization = 14 degree = 3

initial output line optimization = 10 degree = 3

initial output line optimization = 8 degree = 3

initial output line optimization = 5 degree = 3 rebuilt curve

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catalogue type iV transitional configuration form finding

components

component connection

optimization transition

the components that had been optimized are grouped in linear configurations. Now by combining different categories certain transitions are made to create a birfucation that rejoints at the end and so connects to another component

linear gradient

a. optimized line work

surface configuration

b. second optimization frame work

c. Initial line gradient

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medium

SPATIAL UNITS form findingN vaults

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bridge condition

bending components

The proposal for a spatial application tries to use the processing scrip to start to create more spatial unit variations. Starting with the arch and going to the vaults, the archetypical references are again tools to translate de components into 3d units.

The variation of attractors and repelers become crucial to the formation of the braiding moments on this new designs.

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Arch formation with flocking script

top view of arch formation

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Vault replacement components

increasing complexity branching detail

By combining the different components in different orders, several variations are accomplished that start to create a more logical spatial unit. With this recognizable moments and a very well known overall shape, the idea of space begin to take a much bigger presence through the form finding stage of the project.

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bridge-like condition extracting lines

increasing complexity

side view. entrance

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large

SPATIAL UNITS aggregation form finding vaults

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initial spatial configuration

abstraction lines of the form

gothic resemblance

vault formations

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reference

gothic vaults extracting geometry

vau

2:1 vault

component

circular vault

component

reference shape

linear vault

centre vault

linear 2 vault

reference shape

The Gothic architecture is part of the references used in the transition to more space configurations.

The idea used consists on extracting certain vault and space configurations as basic points that can simulated on a spring system. By doing so, the applications of forces can help design the necessary triangulations for the structural stability of the proposal.

component

component

component

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cluster reference vault forms--------------configurations vault study, cluster configurations clusters

2:1 vault

component

circular vault

component reference shape linear vault

component

centre vault

component

linear 2 vault

component reference shape

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reference gothic vaults aggregation form finding

parameters: restlegth: 0.5 anker points set to 0

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initial shape

spring simulation shape

On a top view the spring simulation helps to study the variations in rest-lengths. The resultant shape when forces are applied translates into a form finding study how the vaults could be aggregated once connected.

However it is necessary to first catalogue the vault variations to achieve a more 3dimentional shape.

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reference gothic vaults tool exploration

initial frame of the simulation

initial deformation due to vault springs rl decrease

The spring lines of the vaults shrink their rest length to a specific value.

In this case the sub division of lines is set to decrease by 0.5

The base point are set to ground to simulate a real condition while the other agents and springs act under the force of inverse gravity.

final deformation due to vault springs rl decrease

the side forces applyed to to the simulated butresses deform to the sides due to the vault size being reduced

cluster components initial form--------------apply forces stage 1-----------------apply force stage 2 component 1

component 2

stage1

stage2

stage1

stage2

restlength of springs = 0.5

buttress lines move sideways

restlength of springs = 0.5

restlength of springs = 0.75

restlength of springs = 0.75

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restlength of springs = 0.5

buttress lines move sideways

restlength of springs = 0.5

restlength of springs = 0.75

restlength of springs = 0.75

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reference gothic vaults form finding

initial form---

initial form--component 1

stage1

component 1

stage1

component 2

stage1

component 2

stage1

The first two kinds of component clusters are tested with the spring simulation script.

By importing the rhino lines into processing the set of anchor points remains in 0 while the buttresses and columns move at the vault springs contract with a rest length of 0.5

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rl :0.5 from original

rl :0.5 from frame 20

frame 20

frame 200

rl :0.5 from original

rl :0.5 from frame 20

frame 20

frame 250

anchor

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reference gothic vaults form finding

stage1 component 3

stage1 component 4

component 5

stage1

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frame: 20 contract vault 0.5rl

frame: 130 contract vault 0.5rl from frame 20

frame: 14 contract vault 0.5rl

frame: 193 contract vault 0.5rl from frame 14

frame: 10 contract vault 0.5rl

frame: 126 contract vault 0.5rl from frame 10

The next three kinds of component clusters are then tested with the same tools. This created an interesting variation of shapes and gave an initial ideal of how to explore the components and their structural behaviour.

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catalogue type I cluster configuration form finding

top

front

relax 0.0rl

expand 1.2rl

contract 0.5rl

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expand 1.2rl

contract 0.5rl

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catalogue type II cluster configuration form finding

top

front

relax 0.0rl

expand 1.2rl

contract 0.5rl

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expand 1.2rl

contract 0.5rl

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catalogue type III cluster configuration form finding

top

front

relax 0.0rl

expand 1.2rl

contract 0.5rl

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expand 1.2rl

contract 0.5rl

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initial aggregation cluster configuration form finding test

relax 0.0 rl

initial shape

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v= 0.3rl s= 1.0 rl

v= 0.5 rl s= 1.2 rl

v= 0.7 rl s= 1.4 rl

v= 0.9 rl s= 1.6 rl

v= 1.3 rl s= 2.9 rl

v= 1.5 rl s= 2.2 rl

With this initial shape of vault aggregation two different values were changing. The vault springs where changing values from 0.3 of their initial rest-length up to 1.5. The buttress on the other side started with a value of 1 that meant to change and went up to 2.2 of the original value of the spring.

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initial Aggregation cluster configuration form finding

vault combination initial aggregation

vault combination

b

type a with type b

a

a a

a

a a

a

b a b b b

b

b

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contract 0.5 rl

expand 1.2 rl

Reshaping the vaults from the rectangular s hapes, new sets of aggregation were c reated and t hen combined. A lso by t esting the shape configurations to achieve a more asymetrical shape, the form is also contemplating different density areas.

The contrancting and expanding rest lenghts of the vaults, and the expansion of the side lines result in some different shapes.

Side expand 1.2 rl

Vault contract 0.5 rl

* rl= rest length = anker point = vault lines = vault lines

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spatial cluster configuration form finding

changing initial geometry

shape trian

ation spatial cluster spatialconfiguration form finding cluster configuration

on

shap

deform

sh deform

form finding

evolving shape definition

concave

deform

evolving shape definition shape aggregation shape aggregation

convex concave

convex

concave

Initia Initial shap

convex

Ini

resul after res aft

resulting s after force

cluster 3 rescale cluster 3 rescale

cluster 2 concave

cluster 1 convex

cluster 2 concave cluster 2 concave

cluster 2 concave

cluster 1 convex cluster 1 convex

cluster 2 concave cluster 2 concave

cluster 3 rescale

cluster 3 rescale cluster 3 rescale

resul befor res be

resulting s before com

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processing simulation frame 0 top view

frame 162 perspective view

rl= 0.5

Two different sets of clusters were design to be aggregate in a linear way. There are concave and convex configurations that change in scale to create an overall spatial proposal.

The initial tool exported the lines from rhino into processing and the gravity and spring system help simulate the structural behaviour of the super cluster. By decrease the rest-length of the vaults by 0.5 and interesting form was accomplished.

A second stage of deformation was used with a 0.75 decrease in rest-length that deformed the shape even more.

Now by having this lines in place the points are imported back to rhino to populated by the components taken from the other script.

frame 34 top view

rl= 0.5

frame 250 perspective view

rl= 0.5

frame 370 perspective view

rl= 0.5

frame 450

rl= 0.75

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spatial cluster configuration form finding

shape definition

for

initial shape

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cluster triangulations concave

convex

rces

resulting shape after applying forces

= anchor points = force

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spatial cluster configuration aggregation

shape definition

cluster 3 rescale

cluster 1

rescale

cluster 2

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cluster deformation

cluster 1

cluster 2

cluster 3 rescale

cluster 1 rescale

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vault aggregation space initial aggregation Space definition form finding form finding

shape definition private dense

transit open

The three different clusters have all different uses . This is how they start to divide the function accroding to private to public areas. The more private the space the denser and and more secluded the spatial configuration will be.

Also 4 different types of compoents were assemble to create the shape. From very linear geometries to more wider ones, the idea of splitting acording to their density appears as a step towards the form finding.

publi semi-

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ic -dense

transit open

line structure

private dense

components

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Rethink the resolution cluster configuration form finding test

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large

stitching the urban fabric river side market scenario

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stitch the urban fabric Sofia Scenario river bank

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stitch the urban fabric sofia Scenario river bank

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stitch the urban fabric river bank

The scenario proposal is divided into two parts. The first one will deal with a collective space of activities that will provide shelter and reactive the river bank. And the second one will be a connecting bridge that will link the two parks of the area. In such way the idea will be to use the system as a mechanism to diffuse the urban landscape and the natural environment.

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stitch the urban fabric

components river bank

Fabrication proposal for a bigger scale. Component division according to their shape and complexity and number of smartboxes needed to create the overall shape.

By casting it continuously the overall shape can be achieved

smartboxes

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stitch the urban fabric

site Proposal top view

In the first stage the overall tubes will be braided with 4 smaller ones. By doing so the resolution will increase one more time to create a better structural stability for the proposal.

On the second stage, a more secluded bridge will use the idea of the braided tubes with the surface conditions to explore the spatial possibilities of the system.

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stitch the urban fabric

bridge close-up top view

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The Bartlett School of Architecture University College London MArch GAD Cluster 06

Yana Andreeva Tomas Santacruz Despoina Tsalagka Tutors:

Daniel Widrig Stefan Bassing | Soomeen Hahm

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