BPro RC6 2014/15_PLEX-E

plex-e Wonderlab : ResearchCluster 6 2014-2015 Graduate Architectural Design

UCL, The Bartlett School of Architecture 1

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WonderLab : Research Cluster 6, daniel widrig, stefan bassing, soomeen hahm Team members: ChristinaBali, NadiahShahril, ChrysanthiTzovla

UCL, The Bartlett School of Architecture 3

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CONTENTS

STUDIO BRIEF 1 INITIAL RESEARCH 1.1 introduction 1.2 concept 2 MATERIAL RESEARCH 2.1casting tubes 2.2 material composites. From softness to hardness.

2.3 evaluation 3 FABRICATION PROCESS 3.1 initial fabrication tests 3.2 fabrication process analysis 3.3 final fabrication technique 3.4 column fabrication 4 DIGITAL DESIGN PROCESS 4.1 explicit modelling process 4.2 agent based simulation 4.3 curve typology and pattern topology 4.4 surface patterns 5 FURNITURE SCALE 5.1 stool studies 5.2 stool fabrication 5.3 chair studies 5.4 chair fabrication 6 ARCHITECTURAL SCALE 6.1 column studies 6.2 staircase studies 6.3 pavilion structures 6.4 architectural space studies 5

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Studio brief

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Cluster Six

Digital design and manufacturing technologies in today’s generation has enabled architects and designers to work in a high resolution pace that is unimaginable.Digital systems allow designers to accumulate, structure and utilize massive quantities of information to parametrically shaped

products

including

built

environments.

Corresponding materialisation technologies such as 3D printing and robotics synthesize these projects in an increasing scale and high resolution, employing rapidly in ranges of ‘digital materials’. While these soft and hardware systems facilitate the rapid design and materialisation of such products and environments, tactile interaction with form and matter throughout the design and fabrication process is increasingly scarce. With us designers, more and more depending on ready-made fabrication strategies, scripts and black box technology an unbiased evaluation of our computational design culture is increasingly difficult.

In relation to the context above, Cluster 6 seeks to reevaluate the role of craft and hands-on production in the digital design domain. In its third year RC6’s Crafting Space Program continues to explore hybridized design and fabrication strategies in which digitally controlled techniques of form-finding and manufacturing naturally blend with existing crafting techniques and lower technological ways of making. Manoeuvring between disciplines Cluster 6 seeks to occupy in-between territories where traditional and contemporary ways of designing and making blur into one.

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Chapter One

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Initial research 1.1 introduction 1.2 concept

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Introduction

Our project, PLEX-E which is part of Research Cluster Six focuses on the interaction of form and matter as well as exploring the digital techniques of form - finding in relevance to crafting and making techniques. In addition to this main focus, an architectural problem that we had to solve in order to succeed in this project was the formation of a contemporary design language that could cover the needs of today’s society. The accelerating changes in societies, economics, and technology affect the spatial values and impose new architectural problems for architects to solve. The need of an adaptive, fluid and dynamic architectural language that could adjust to different scales and environments leads us to design patterns, with flexible and dynamic characters.

Our project aims to design innovative, spatial networks that will implement the textile tectonics in a different way. The weaving technique acts as a basement for this research project and it is used in digital design process in combination with natural behavioural systems for the form- finding process. The lines through a parametrically design procedure which form patterns that transforms into the physical world through the fabrication process.

The flexible tubular components are combined through the weaving process by making knots. An architectural language is created as the formation of the system, materiality and structure interact. Through this process, a unique and polymorphic design system is shaped. Hence, the structural, geometrical and material analysis of the design and fabrication process will take place in order to estimate the value of the design system and the potential it presents for the future.

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Initial research 1.1 introduction 1.2 concept

Concept

WEAVING

references

TEXTILE

Figure 1:weaving loom.

Based on the idea that lines can be merged through textile techniques and shape a continuous, strong and dynamic system, the weaving technique (basic textile technique) is used as a foundation for the study in order to communicate the digital technology with the fabrication process.

That is why the name of the project is PLEX - E , which derives from the Greek word plexi (latin root: plectere) and Figure 2: weaving with textile-Iris Van Herpen.

refers to pattern produced by woven textiles together. The

BALLOONS

suffix (e) in the end of the word implies that the weaving

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process will be transformed to the digital design and thus, an electronic weaving process will be used.

The weaving is a method of fabric production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric. The weaving patterns are formed by lines and knots and thus, linear structures are shaped. The translation of traditional weaving technique to the weaving with balloons and textiles constitutes basic reference for our project.

Figures 3,4 : Balloon Dresses, Daisy Unit Balloon Company.

Figure 5 (next page) : Tim Johnson, artist ,salt basketry.

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Concept tools exploration

flexible tubural components

modelling balloons

weaving as a making process Based on the weaving patterns, modelling balloons are used as the basic components, forming surfaces and linear patterns.

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foam tubes

rope

photo of foam model-weaving

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Concept pattern studies

diagrid

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rectangular grid

dual rectangular grid

diamond grid

triangular grid

3d dimensional grid

weaving braid

Through the pattern studies we have undergone, we have managed to create spherical and rectangular shapes by controlling the knots of the balloons. The grids illustrated show the possibility of the balloons to create patterns that vary in density, scale and transparency.

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Concept tools exploration

The tools illustrated are used to create our model. The pro-

WEAVING

cess is to weave the model into shape, and later hardened it with the right composition of materials.

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HARDENING

CASTING skeleton-lattice structure

hardener concrete

WEAVING surface patterns- decorations

tools- hardening process

HARDENING- applying concrete in layers

analysis

Weaving architecture gives a sense of flexibility in its description itself. Our concept of weaving continuous lines to create stand-alone objects opens up a new parameter in the architectural world. Inspired by the shown references, using textiles to create objects not only portrays aesthetical values but also functional ones.

Plex-e thrives to investigate ways to design with our chosen concept through the development of our own design rules and advanced material system.

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Concept

WEAVING

installation

TEXTURING

HARDENING

lattice and surface patterns

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applying concrete in layers

spraying concrete

Through the investigation of patterns through weaving, hardening of these patterns and also the outcome of these methods, we decided to also look into texture of what is created for aesthetical pleasure. Through this processes, we learned that there are many limitations in using our material system. This will be explored in the further chapters along with the development of pattern studies, hardening using material composites and the outcome of these combinations.

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Chapter Two

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Material research 1.1 casting tubes 1.2 material composites. From softness to hardness.

3.2 evaluation

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Casting tubes

tights

armaflex

tights

covering material

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tights

cotton

wire

foam tubes

wire

balloon

filling material

results

- matte and smooth texture - easy to shape and weave - time consuming making process(tights need to be sewn and put balloon into) - limited life span because of balloons deflation

- matte and smooth texture - flexible and easy to shape and weave - wires are against of nature of materials

- matte and smooth texture - easy to shape and weave - time consuming making process(tights need to be sewn and foam and wire put into them) - wires are against of nature of materials

- matte and smooth texture - easy to shape and weave - uncontrolled cotton’s density inside tights - time consuming making process(cotton needs to be put into tights)

tubular components 33

Casting tubes

tights

- bumpy surface texture - easy to shape and weave - time consuming making process (place the balls into tights) - very light

- matte and smooth texture - easy to shape and weave - time consuming making process(tights need to be sewn and foam tubes put into them) -easy to be corrected

- matte and smooth texture - easy to shape and weave - fast and easy to be knotted with thread - very light and absorbent material

cotton ropes

foam tube 34

results

tights

covering material

foam tube

foam tube

balls

filling material

- matte and smooth texture - easy to shape and weave - fast and easy to be knotted with thread - very light and absorbent material - cottton string is thick enought to form connection

tubular components 35

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foam tubes wire and tights

foam tubes and tights

Through the initial experimentation of weaving balloons,

foam tubes

we made a conclusion that the limitations were too constricted to create continuous lines without the balloons popping midway of weaving and knotting. We advanced into using tubular foam tubes which have similar characteristics. Putting tights over the foam tubes allow lines to be sewn into them and also initially helps with the hardening of balloons.

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Material research 1.1 casting tubes 1.2 material composites. From softness to hardness.

3.2 evaluation

Material composites. from softness to hardness

balloon + tights

5:1 pva glue + water

wire + armaflex

cotton stuffing + tights

2:1:3

6:1:3

white cement + hardener + water

white cement + hardener + water

5:1:1

5:1

liquid foam + pva glue + water

foam tubes + cotton tights

3:1 cotton 20 % epoxy resin + hardener

soft 40

pva glue + water

3:1

2:2:8

white cement + hardener + water

3:1

epoxy resin + hardener

3:1

The combination of material and the composites is crucial in the process of making. These testings show the right

cotton 60 % epoxy resin + hardener

cotton 100 % epoxy resin + hardener

combination of material products that could potentially work as our material system.

balls + tights

1:1:1:1

plaster + water + epoxy resin + hardener

foam tubes (1)

5:5:1

liquid foam + pva glue + water

foam tubes (2)

1:1

white cement + water

foam tubes + rope

4: 3:1:1.5

spray concrete mix (cement + sand + latex +water)

5:1:1:1

pva glue + water + epoxy resin + hardener

4:1:1:1

cement + water + epoxy resin + hardener

2:2

white cement + water (double coat)

1:1 + 4: 3:1:1.5 cement + water + spray concrete mix

4:1:1:1

cement + water + epoxy resin + hardener

5:1:1:1

pva glue + water + epoxy resin + hardener

1:0.5:1

white cement + PVA +water

1:0.6 + 4:3:1:1.5 plaster + water + spray concrete mix

1:1

epoxy resin + hardener

1:1:1:1

plaster + water + epoxy resin + harderner

1:0.1:1

cement + plasticiser + water

3:1:1:1.5

cement + sand + latex + water

hard 41

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Material research 1.1 casting tubes 1.2 material composites. From softness to hardness.

3.2 evaluation

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Evaluation hardening foam tubes

tubular systems + strongest hardeners

dry time

frangibility

balloons + tights + pva glue

10%

100%

10%

20%

wire + armaflex +white cement + hardener

10%

80%

20%

10%

cotton stuffing + tights + epoxy resin + hardener

100%

60%

20%

30%

balls + tights cement + epoxy resin + hardener

100%

70%

20%

30%

80%

40%

30%

50%

80%

20%

30%

40%

foam tubes + cotton tights + resin

foam tubes plaster + water + epoxy resin + harderner foam tubes+ white cement + water

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50%

60%

weight

50%

price

10%

tubular systems + strongest hardeners

dry time

foam tubes + white cement + water (double coat)

70%

foam tubes + white cement + water + PVA

60%

foam tubes + white cement + water + plasticiser

60%

foam tubes + cement + spray concrete

80%

foam tubes + spray concrete

80%

foam tubes + plaster + spray concrete

80%

frangibility

30%

30%

weight

80%

60%

price

20%

30%

30%

70%

30%

20%

80%

50%

70%

20%

50%

20%

60%

40%

Mid-way through our material research process, we concluded that the liquid material needs to soak through the foam tubes and using tights over

foam tubes + concrete + spray concrete

80%

5%

70%

40%

the tubes is no longer beneficial. We analysed the outcome through the study of dry time, frangibility, weight and price. The results are as follows.

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paris plaster + fast cast resin

white cement

resin plaster + fast cast resin

2x coats resin plaster

jesmonite + fast-cast resin

fast-cast resin

paris plaster

resin plaster

jesmonite

Evaluation

hardening foam tubes

smoothness 60% 60% strength 70% weight

50% 40% 50%

50% 20% 40%

smoothness 50% strength 40% weight 50%

95% 95% 100%

90% 80% 90%

smoothness 95% 95% strength 80% weight

95% 95% 70%

90% 80% 60%

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concrete + spray concrete

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concrete +fibers

concrete

white cement + latex

white cement + PVA

white cement x2

white cement + plasticiser

Evaluation

hardening foam tubes

selected material system

smoothness 50% 50% strength 60% weight

30% 70% 80%

smoothness 50% 70% strength 70% weight

50% 70% 70%

60% 80% 70%

80% 90% 70%

smoothness strength weight

5% 95% 75%

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Evaluation selected material system

SYSTEM I

Composites By experimenting with a variety of materials for casting

foam tubes + tights + pva glue for hardening

our own tubes and hardening them, we come to the conclusion that the foam tubes can be used to form the tubular system. The flexibility and the texture of the porosity material enable us to avoid any covering material like tights. The connection points which control the geometry are shaped by stitching of the tubes and so, a continuous , linear system can be formed. Especially when the tubes are covered by plaster and/or resin, the structures become very strong, stable and their surfaces gain a physical texture and hence, the natural characteristics of the sponges

SYSTEM II

would be of use to its full potential.

Through the evaluation of hardening foam tubes, it is evident that the use of plaster was successful because of

foam tubes + plaster for hardening

its high liquidity. We then experimented on using cement continued by concrete as they hold similar physical characteristics but higher in strength. It is concluded that the best composite to use is concrete for its strength and also physical appearance.

SYSTEM IIΙ foam tubes + cotton rope concrete in layers for hardening

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Chapter Three

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Fabrication process 3.1 initial fabrication tests 3.2 fabrication process analysis 3.3 final fabrication technique 3.4 column fabrication

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Initial fabrication tests

TUBES

balloons and tights

The modelling balloons are flexible materials that could easily be woven together.By experimenting with the patterns of weaving balloons(chapter one), we got the knowledge to combine them and start making structures.

basic material

SURFACES

modelling balloons

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The use of continuous lines from the foam tubes sets limitation to the design. These diagrams show the possibilities of pattern making through the weaving and knotting of lines.

prototype I,

blending different scales of tubes(strings, balloons)

prototype IΙ,

shaping surfaces of strings between the modelling balloons( boundaries).

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Fabrication process 3.1 initial fabrication tests 3.2 fabrication process analysis 3.3 final fabrication technique 3.4 column fabrication

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Fabrication process analysis lattice structure & surface with strings models

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materials - wire - armaflex

comments with the help of wire, armaflex is able to be more flexible. this material did not coorperate as no proper connections could be made.

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- wire - sponge tubes - tights

the sponge tubes comes in two metres allowing continuous flow to the prototype. the function of the tights were to keep the wire tubes together giving structure to the prototype, though this is very time consuming. this did not help with the symetrical of the model as it is still flimsy.

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- sponge tubes - thin tights strips - tights

using a grid to keep the model symetrical has made it able to create something that could hold its form. the tights strips are too hold the structure down and keep the curve of the

- grid frame

models. it also creates surfaces.

composite:

the hardening process is done before

- cement - epoxy hardener

taking the prototype off the grid. And it was not hard enough for a free standing structure as the hardener does not seep.

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models 4

materials - sponge tubes - thick tights strips - tights

comments this prototype brings in looping into the process with thicker tight strips to create more visible surfaces. this also allows a more rounded shape to the model.

- grid frame the issue with this model was that it only gives a 2D view of the protoype, making the it look flat and unflattering.

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- sponge tubes - thin tights strips - tights - grid frame

we attempted on using the same method by parts. hardening each part before combining. it was messy and unsuccessful as the connection points were weak, and again the hardener could not seep through the tubes with tights over them.

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Fabrication process analysis lattice structure & surface with foam models 1

materials

comments

- foam tubes diameter 2.5cm, 6cm & 8cm

- start making the model without

- the compression points are formed by knots

of the model made it self-standing by

- no grid frame

frame.

- the looping of the lattice to one point itself.

- this prototype did not work because it did not have a surface as the scale of the lattices are too big.

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- foam tubes diameter 2.5cm, 6cm & 8cm

- this prototype is the first

- the compression points are formed by stiching with thread

with the lattice spaceframe.

- grid frame

inside the spaceframe.

attemp of combining the surface patterns (formed by tubes) - the scale of the surface patterns is dense and placed to specific positions - a more interactive and balanced in scale and transparency system needed in order to combine the surfaces with the spaceframes.

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- foam tubes diameter 2.5cm, 6cm & 8cm

- geometry is formed by two compo-

- the compression points are formed by stiching with thread

the complex surface patterns form the

- grid frame

nents that are combined with mirror. the lattice structure supports the model and seat and two front legs.

- the scale of the lattice structure doesn’t combine with the small scale of the surface patterns. They act as two systems that are nit interact with each other.

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Fabrication process analysis surface patterns, foam tubes

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surface patterns diagrams

Pattern topologies the patterns diagrams are manufactured with soft foam tubes(two different widths) so as to express the nature of material and to inspire the design technique that we will develop. The role of the knots and the weaving technique in the making process cinstitute the basic tools that used to combine the elements together.

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Fabrication process analysis prototypes: foam tubes

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Fabrication process analysis column structure, foam tubes

geometry analysis height

proportions resolution basic curves

fabrication part

width

matrix

extra matrix

digital model, reference

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frame box

witih rope adding extra guidelines to achienve accurancy

materials used (jesmonite plaster, paster polymer, trisodium citrate , water)

mixing ingredients all together in a bucket

fabrication technique - frame box to keep the prototype stable - we first made the exterior curves and then we covered the column with our surface language - the next step was to put a coat of plaster to the foam tubes with a painbrush until the plaster is welled soaked.

- We waited for the model to dry for 24 h and then we applied resin fast cast for three coats so before we remove it from the box

applying plaster to foam tubes

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Fabrication process analysis column structure, foam tubes

The photos show the process of hardening the foam tubes with plaster. The final outcome of this model was not so successful due to the plaster feature that could not harden totally the foam tubes. In the meantime, the design was not totally resolved and could help to make the prototype stable and rigid.

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Fabrication process 3.1 initial fabrication tests 3.2 fabrication process analysis 3.3 final fabrication technique 3.4 column fabrication

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Final fabrication technique

FOLDING CONCRETE FABRIC

3D PRINTING CONCRETE

MOULDING CONCRETE

concrete hardener

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Fabrication Concrete applications vary from simple moulding techniques, 3d printing and fabric concrete sheets.

All the above techniques lack of the ability to develop in a diagonal direction. To achieve this approach, we experimented both in applying the concrete itself to the foam tubes and then spray layers of concrete on top to integrate the materials all together.

foam tubes + concrete - soft form - flexible morphology, diagonal directions - high strength - light structure - free of molding building process

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Final fabrication technique concrete patterns using rope and foam

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Rope was introduced as a new material to the prorotypes to achieve better results closer to digital models. Layers of concrete were applied to harden the foam and then, they were sprayed to intergrate foam and rope together and

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Fabrication process 3.1 initial fabrication tests 3.2 fabrication process analysis 3.3 final fabrication technique 3.4 column fabrication

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Column fabrication stages of fabrication process

1. box assembly, scaffolding

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2. weaving model

3. soak in concrete

4. hardening model 5. spraying concrete, merging models

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Column fabrication

The design of this column is divided into lattice and surface language which blend nicely together. The first step of creating this column was to hang the model on the frame box and weave it according to the digital design. As we move from top to bottom the column becomes l less complicated and the width of the foam tubes increases. After the first layer of the reading prototype concrete is applied by soaking it to the basket.

Unwanted deformation was created due to the heavy weight of the concrete.

We rehand the model up into the box and spray concrete to even the column. The stability of the column was compromised due to the knot created and should not be placed at the bottom of the column as it needs tocarry the load.

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Chapter Four

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Digital design process 4.1 explicit modelling process 4.2 agent based simulation 4.3 curves typology and patterns topology 4.4 surface patterns

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Explicit modelling process inflating curves

polygon mesh deformation the procedure is based on designing the desired polygons and pattern of curves, duplicate its edges and inflate the final outcome.

Our design process is based on trying to mimic tubular cylinders forms with a variety of patterns. In terms of computational design, we experimented first with edges from polygons. The design process is explicit and thus, the final geometry is totally predictable. This design system lacks of the dynamic character that digital computational design could have by forming efficient, parametric path systems of curves.

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KNOTS

minimal surfaces aggregation

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Balloon chair inflating curves

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basic component, cylinder geometry

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component transformation

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3 component aggregation

edges extruded into tubular curves

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aggregated geometry

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deformation of geometry to form a seating object

outcome

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inflation of tubular polygons

The final digital design and the physical model were quite different because in terms of design the linear elements were straight and pattern lacks of curvature and control of density. The repetitive character of the pattern was a negative aspect of the aggregation procedure that leads us to develop an alternative, dynamic computing technique of design.

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Balloon chair inflating curves

front view

back view

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perspective view

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Digital design process 4.1 explicit modelling process 4.2 agent based simulation 4.3 curve typology and pattern topology 4.4 surface patterns

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Agent based simulation form finding process

phyllotaxis, crisscrossing spirals of Aloe polyphylla.

Simulation is the act of imitation the behaviour of some situation or some process by means of something suitably analogous; it is a technique of representing the behaviours of the real world.

Trying to design a dynamic system that could adapt to different scales, we initiate natural behavioural systems in the digital design process. Going further from the copy of the forms and the shapes of the natural systems, the project uses the natural systems to solve spatial and design problems, applying the principles of biology to design methodology. There are models like coral reefs, termite wounds and mangal forests that follow collective orders in which the local agents interact with each other and with the environment conditions. That means that an adaptive, behavioural system is produced from the unity that reacts to the environment stimulus. Phyllotaxis(figure21), is a behaviour in botany that controls the arrangement of leaves on a plant stem (from Ancient Greek phýllon “leaf” and táxis”arrangement”). The leaves start to grow from the stem and shape a complex network of branches that is controlled by the movement of the hormones (auxin) of plants and the reaction of the plants to the environmental conditions. Each plant shapes a metabolic sensory system to produce its branches, adapt to the environment and re-generate itself.

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component

Team RED, Design Research Lab, Architectural Association, Theodore Spyropoulos, London ,2007: Research on adaptive growth of models based on phyllotaxis.

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Agent based simulation form finding process

The lines are used as basic design tools and combined

Parameters

through weaving technique. The network of them is used as a basement for the mess generation of the models.

Inspired by the fluffiness of our material system (foam tubes) and the formal language of the system (textile techniques- woven lines), we introduce physics engine based simulation to help our digital design to be more generative.

Since this tool uses guide curves as main input, a parametric but controlled design process is achieved. The use of physics engine and spring system allows us to dupli-

to assimilate the phyllotaxical behavior, this computational design system uses a path based system and components aggregated along them.

The factors that are controlling the behaviors are: - gravity - agent guide curves(rail curves) - Springs of components - speed - mesh geometry(component) - mesh Interval(density of aggregation) - alignment of components to rails

cate along curves the messes – components and shape geometries that are not predictable. It is a form-finding process for our geometries that used phyllotaxis behavior to aggregate the components along the rails. The rule based growth of the messes (type of curves, type of components, digital environment features, like gravity) controls the resulting outcome that is unpredictable and not a mere extrusion along curves.

The design methodology of the project produces geometries with complex architectural structures, as the systems

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of lines and surfaces and the elements of them interact.

The elements of the systems are fully merged through the path design system and the rule-based repetition algorithm, but they still have their own singularity. The structure can be analyzed as a whole that consists of different elements (lattice pattern, surface pattern, ornament). The shaping of a path design system that based on the singular topologies of its elements cultivates an architecture of continuity.

physical simulation process

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digital model reference by Soomeen Hahm

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Agent based simulation two braided curves, one component

COMPONENT: double surface CURVES : 2 braided curves DESIGN TOOL : duplicating along curve the

component (script next page) RESULT: no lattice components pattern high in density

KNOTS

+

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Mesh generator by controlling these factors and designing the components as polygons formed with balls and rectangular shapes, a geometry is produced that is similar to weaving process of the physical models.

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment:

2 2 components (0,0,- 0.5) 0.5 100 (guidecurve, 50,10)

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9. physical simulation process 105

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Agent based simulation minimal surfaces Mathematical geometries COMPONENT: double surface, triple surface, quad surface

DESIGN TOOL : extracting curves from minimal surfaces and use basic components to aggregate along their paths

minimal surfaces 110

were able to control the lines that we choose to create in order for it to run through looping of the curves . By aggregating these simple mathematical commonents, interesting but uniform components were created.

RESULT: no lattice components closed and very dense morphology

initiated the design process from the geometries of minimal surfaces(a minimal surface is a surface that locally minimizes its area). By using this technique, we

CURVES : minimal surfaces

limited morphology

In order to control the randomness of the curves that we designed manually, we

closed and

A

+ components

minimal surface curve

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Agent based simulation minimal surfaces

C

+ components minimal surface curve

alternations in rotation of the components produce different morhophologies

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E

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Agent based simulation braided lines, components variation

COMPONENT: double surface and lattice CURVES : 4 braided curves DESIGN TOOL : extracting curves from minimal surfaces and the use of basic components to aggregate along their paths RESULT: no lattice components closed and very dense morphology

lattice structure

+ surface structure

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Mesh generator The next step of digital research is cosisted of tried to mimic the lattice and surface language . For this case different components are used that run along the curves and produced new topologies.

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment:

4 2 components (0,0,- 0.8) 0.7 50 (guidecurve, 60,4)

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physical simulation process 119

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Digital design process 4.1 explicit modelling process 4.2 agent based simulation 4.3 curves typology and patterns topology 4.4 surface patterns

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Curves typology and patterns topology

lattice configuration

Weaving patterns The rules used in the weaving patterns are digitally recon-

bifurcation

structed into an integrated system of lines, in which the lines are connected through the technique of bifurcation, tangent and by forming knots. Thus, the Y, X-node and the tangent are the parent configurations that form the entire

tangent

network. The research in these connections of lines leads us to form and design a system of linear components that transformed from simple lattice components to braided and branching lines according to the structural needs.

X- node

Component configuration 128

lattice patterns

parallel lines

bundles

crossing lines, knots

braiding

double - braiding

overlapping braiding

branching

double branching

overlapping branching

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Curves typology and patterns topology

weaving patterns

Patterns studies The different configuration of these simple braided lines give us a better understanding of the possibilities of structures and pattern designs that could be produced both digitally and manually. The patterns may seem overwhelming, but as illustrated in these diagrams they all started from simple lattice configurations to create our own rules of weaving. This gives a sense of hierarchy to our weaving design language.

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results

weaving patterns

results

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Digital design process 4.1 explicit modelling process 4.2 agent based simulation 4.3 curves typology and patterns topology 4.4 surface patterns

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Surface patterns

braiding pattern

branching pattern

surface patterns 134

density components 135

Surface patterns

components (simple)

Patterns studies The surface patterns created are also a form of component of lines. From the aid of digital design, we were able to predict the outcome of these components.We found that the simpler the component used, the more aesthetically pleasing the complex outcome becomes.

136

results

components (complex)

results

137

138

Chapter Five

139

140

Furniture scale 5.1 stool studies 5.2 stool fabrication 5.3 chair studies

141

Stool studies triangular geometry

Design process For our seating object, we started off with a simple idea of designing stools. We designed three types of stools by raising its complexity from stool one to three. The complexity of the stools are measured by the number of components used.

triangle transformation

LATTICE stool 142

SEMI - COMPLEX stool

COMPLEX stool

COMPLEX stool didital model

143

Stool studies LATTICE stool

triangular polygon

curves extracted from triangular polygon

the curves are used as paths for the components

Furniture Scale This stool uses the curves from a simple triangular polygon and by using one simple component that aggregated along them.

basic lattice component design tool : the component is duplicated along the path (curves)

144

top view

perspective view

145

Stool studies SEMI - COMPLEX stool

Design methodology The forming of surfaces can be seen in this chair as the component used to be aggregated along the curves created is elongated using more than one ball.

duplicating along curves

curves

up elongated surfaces

down compression part

146

top view

perspective view

147

Stool studies COMPLEX stool

seating part

component used

stool legs

Design methodology This stool is called the complex stool because of the number of components used. This chair is proven to be more stable because of the complexity of the curves created and used.

component used

148

perspective view

bottom view

top view

149

150

Furniture scale 5.1 stool studies 5.2 stool fabrication 5.3 chair studies

151

Stool fabrication COMPLEX stool

1

2

3

WEAVING seating pattern

top view

side view

front view

Leg structure

152

Seating structure

This was the first architectural object that fabricated by our team. The first step of this fabrication process is to have a framed box to restrain the model after it is covered by the hardener as gravity would pull it down. The application of the material started from the seat of the stool by dipping the seat followed by brushing. The model was left to dry for 24 hours before the hardener was applied onto it.

fabrication tools

frame box

model placement

hardener application

model restrain through gravity

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156

157

158

159

160

161

162

Furniture scale 5.1 stool studies 5.2 stool fabrication 5.3 chair studies 5.4 chair fabrication

163

Chair I curves, component variations

arm s

triple lattice structure

s e at

quad surface

Mesh generator Using the agent based simulation we adopted for our project, we started using more complex components to run with it. Studying the basic characteristics of a chair, we designed its basic guide lines.

This is predicted to create weaving patterns that are combined all together to generate a chair.

164

loose seating area

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment:

5 3 components (0,0,- 0.4) 0.7 20 (guidecurve, 60,4)

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

physical simulation process 165

Front view

166

Back view

167

Chair studies typologies

Chair I

Chair II

Chair III

front view 168

back view

top view

perspective view 169

Chairs II & III lattice and surface studies

Design process Going into a more complex chair design, we looked at the famous Panton Chair for its simple but effective guide curves. Using similar logic of this chair, we managed to divide the design in layers. The first layer of the thick tubes are used to create structure stability. The second layer, which uses the thinner tubes creates the chair’s surfaces that are also generated by the agent based simulator.

basic structure

Lattice structure

170

increase complexity 171

Chair I

front view

back view

The outcome of the chair shown is based on dividing the tubes into thick ones that are used for structural purposes and the thin ones that generated the surfaces of the chair. The structural tubes forms the basic scaffolding of the seat, back and arms while the thin tubes are created for the surfaces. The second layer of the thin tubes produces the seating area and the back.

172

top view

perspective view 173

Chair II

front view

back view

back view

The difference between this chair and the first is the thickness of the seating area. We ran the agent based simulator again to make the seating area wider that fits better with the ergonomics of the human body.

top view

174

perspective view 175

Chair III

Structural analysis Realising the importance of the human body in regards to the seating object through physical modelling, we re-evaluated the efficiency of the chair

BACK surface pattern

through the use of the surface patterns and how the body would mould into it. We also tried to minimise the use of tubes for the legs as illustrated from the physical model, after applying concrete, it has made it thicker and over stable which made the model

SEATING area surface pattern

heavier than it should be.

lattice structure thin tubes

lattice structure thick tubes

176

front view

back view

177

Chair III

top view

178

perspective view

179

180

Furniture scale 5.1 stool studies 5.2 stool fabrication 5.3 chair studies 5.4 chair fabrication

Chair fabrication prototype

branching

knot

bundles physical model

Fabrication Based on the digital design process, the first foam tubes that were weaved were the thick ones that also formed the scaffolding of the chair. We hung the thick tubes from the frame, hardened them. A secondary layer was weaved on top of the basic one. Finally the complementary components of surfaces were attached to the appropriate places to form the seating and back area. Finally, we hardened all the parts together and then sprayed concrete to unify the chair as one object.

182

digital model

Surface pattern hardening concrete mix

LATTICE hardening concrete mix

Surface pattern spray concrete 183

back view

184

front view

perspective view

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188

Chapter Six

189

190

Architectural scale 6.1 column studies 6.2 staircase studies 6.3 pavilion structures 6.4 architectural space studies

191

Column studies braided lines, components variation

design process

COMPONENT triple surface CURVES simple braided curves RESULT no lattice structure dense geometry limition in the development

+

processing script features gravity: increased component velocity : low

192

KNOTS

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment:

2 1 (0,0,- 0.4) 0.7 20 (guidecurve, 60,4)

1.

2.

3.

4.

5.

6.

7.

8.

9.

Mesh generator The component is designed as a combination with balls and rectangular shapes. It is an elongated element that runs along the rail paths in the agent physical simulation. Because of the gravity force, the component generates new topologies, different from the initial curves.

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194

digital models

195

Column studies curves, components variation Design methodology through the physical simulation process, many columns structures are designed with variaty in the lattice and surface patterns based on the lines and components used.

196

column I

column II

column III

looser surface creates more volumes

looser surface creates more volumes

column with component because of gravity

column IV combinations of lattice structure and surface

column IV combination of lattice structure and surface

197

Column studies

component used

catalogue

surface structures

components used

surface structures & lattice structures

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199

200

Increase complexity

201

Column studies cylinder deformation

Using the geometry of cylinder as a the basement for the column structures, we deformed the vertices of the polygon mesh to interweave the edges and produce knots, braids and branching

polygon geometry

202

lattice structure

digital model 203

Column studies cylinder deformation

section line 1

section line 2

section line 3

204

section 1

section 2

section 3 205

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207

208

209

210

column sketch 211

Column studies catalogue of aggregation plan

section 1

section 2

section 3

212

component

aggregated geometry

lattice structure

section

213

Column studies surface patterns

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215

Column studies aggregated components

Design methodology A polygon mesh is twisted and multiplied so as to form a geometry with cross sections. The edges are extracted and shape the lattice pattern of the column. The use of section in aggregation creates gaps in the final structure and the deformation of the components create braiding patterns in the lattice. The surfaces are produced from physical simulation on top of the rail edges that are added to the lattice.

CROSS section component

aggregated geometry

lattice structure

216

side view

front view 217

Column studies aggregated components

section line 1

section line 2

section line 3

diagram / section

218

section 1

section 2

section 3 219

Column studies aggregated components

Design methodology a polygon mesh is twisted and multiplied so as to form a geometry with square section. The edges are extracted and shape the lattice pattern of the column.

SQUARE section component

aggregated geometry

lattice structure

220

side view

front view 221

Column studies aggregated components

section line 1

section line 2

section line 3

diagram / section 222

section 1

section section 2 2

section 3 223

Column studies aggregated components section line 1

section line 2

section line 3

diagram / section 224

front view

side view

section 1

section 2

section 3 225

Column studies aggregated components

Design methodology a polygon mesh is twisted and multiplied so as to form a geometry with triangle section. The edges are extracted and shape the lattice pattern of the column.

TRIANGLE section

component

aggregated geometry

lattice structure

226

digital model 227

Column studies aggregated components

section line 1

section line 2

section line 3

diagram / section 228

section 1

section 2

section 3 229

Column studies aggregated components

diagram / section 230

side view

section 1

section 2

front view

section 3 231

Column studies aggregated components

ssingle surface pattern

sornament

knot

Structural analysis these columns are designed with the same process as described above and apart from lattice and surface patterns.

The combination of the lattice and surfaces vary in density and form complex geometries with braided lines, branching patterns, bundles and various in type surface patterns (single surface, double surfaces,ornaments).

232

upper part linear bundles

core braided lines

basement linear bundles

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digital models

235

236

Architectural scale 6.1 column studies 6.2 staircase studies 6.3 pavilion structures 6.4 architectural space studies

Staircase studies

COMPONENT

J CURVE

step 238

CONTROL STUDY

MULTIPLY

INTERCEPT

TANGENT

staircase geometry

CONCENTRIC

OVERLAP

component rotation

Design methodology Each step is designed with two groups of J curves. The first group forms the pole and the step, while the second forms the step and the railing and both of them are interwoven. The lattice geometry is produced by polar aggregation of the step. The physical simulation runs along the curves and creates the surface patterns to intergrate the lattice pattern.

lattice geometry

pole 239

perspective view

top view 240

front view 241

242

243

Staircase studies

COMPONENTS

movement

J CURVE

MULTIPLY

CONTROL STUDY

Design methodology

INTERCEPT

244

TANGENT

CONCENTRIC

OVERLAP

This is a type of half landing staircase. The design logic based on the idea that the lines connect the different levels of the composition. The curves are J in shape and combined through techniques(intercept, tangent, concentric, overlap). They connect the staircase geometry with the wall and ceiling structure. On top of that, the surface patterns are added(produced from physical simulation) and combined all the structures in one unit.

line drawing perspective of the staircase studies

245

right elevation 246

second level

first level

ground level

left elevation 247

248

249

250

Architectural scale 6.1 column studies 6.2 staircase studies 6.3 pavilion structures 6.4 architectural space studies

Pavilion structures minimal surfaces curves

Pavilion I

+ minimal surface

252

component used

253

Pavilion structures minimal surfaces curves

Pavilion II

+ minimal surface

254

component used

255

256

257

Pavilion structures minimal surfaces curves

Pavilion II

+ minimal surface

258

component used

CENTRAL STRUCTURE

259

260

261

Pavilion structures minimal surfaces curves

Pavilion III

+ minimal surface

components used

for the design of this pavillion lattice and surface structure are combined into one model to achieve a less dense morphology with some voids on the ceiling that could be used for insulation purposes

262

central column

263

Pavilion structures minimal surfaces and braiding lines

Pavilion IV

ceiling

connection between column and ceiling

column

Design methodology In the design of this pavilion the curves from the minimal surfaces topologies are combined with braiding curves. Both are used as paths in physical simulation for the components that are simple balls for the formation of lattice structure and more complex for the formation of ceiling parts and upper parts of the columns.

The different patterns of lattice and surfaces are created simultaneously and interact with each other shaping a continuous dynamic structure.

264

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment:

11 8 (0,0,- 0.8) 0.6 20 (guidecurve, 30,2)

1.

2.

3.

4.

5.

6.

7.

8.

9.

ceiling

column

1.

4.

2.

5.

3.

6.

265

266

top view 267

268

269

270

Tripods structures

271

Pavilion structures tripod

Design methodology This pavilion is generated based on a triangular polygon. The geometry of each leg is consisted of braided parts that branch on top and are joined with the nearest ones. A sec-

2.

1.

ond layer of surfaces are then at-

3.

tached and the corners are decorated with supplementary ornaments.

4.

7. triangular polygon, basic geometry

272

5.

8.

6.

9.

component primary curves

physical simulation secondary curves

merging curves

lattice structure 273

Pavilion structures tripod

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: alignment:

3 3 (0,0,- 0.4) 0.6 (guidecurve, 30,2)

curveĎƒ generator process

274

1.

2.

3.

4.

5.

6.

Parameters agent GuideCurves: mesh: gravity (x,y,z): max speed: mesh Interval: alignment: 1.

2.

3.

4.

5.

6.

6 4 components (0,0,- 0.8) 0.6 20 (guidecurve, 30,2)

surface generator process

275

276

surface patterns

277

Pavilion structures tripod

Structural analysis, Lattice The geometry of the pavilion legs and its ceiling are based on the same rules.

As far as leg design is concerned bundles are placed on the bottom to make the structure rigid enough. Then, the bundles are braided until the top where they branch and meet the nearest curves from the other legs.

corner branching lines

upper part braiding lines

basement linear bundles

278

roof center branching lines

279

structural analysis

lattice & surface patterns 280

corner branching lines

upper part braiding lines

ornament- surface structure

basement bundles of lines

281

Tripod I

282

top view 283

284

285

286

287

Tripod II

288

top view 289

290

291

292

293

Pavilion structures tripod aggregation

Aggregation system Each tripod is used as a component which edge is attached to the others.

The height can differ according to the environments features.

294

top view 295

296

297

298

Architectural scale 6.1 column studies 6.2 staircase studies 6.3 pavilion structures 6.4 architectural space studies

Architectural space studies Observatory

Design methodology The structure of the observatory is developed in three levels. A round staircase connects the floors in section and shape a helix movement between the columns. It is a composition that shaped through the hierarchies that followed in our design (bundles, braids, branches) and combines the different scales regarding to the spatial needs of its element.

third level

second level

first level

front view

300

top view

301

302

303

304

Final proposal

305

Architectural space studies final propossal

Design rules

OVERLAPPING

UNDERLAPPING

TWISTING

BENDING

EDGE The final proposal constitutes a composition of different geometries that shape floors which are connected through staircases and columns. All the parts of proposal (tripods, staircases, etc) follow the basic design rules that were

ACTIVE INACTIVE

mentioned above such as braiding branching and bundles. The plan is developed in a 90 degrees angle that is symmetrical. The main entrances are connected through elongated corridors vertically. This constitutes the main movement through the building.

306

Curves typologies

Extended hook

Asymmetrical Curve

S-curve

307

Architectural space studies final proposal

Structural analysis

308

roof

floor- ceiling

staircase

309

Architectural space studies

Roof Typologies

final propossal, typologies

310

crown of column structure Transition from the roof system to the column.

column structure Transition from the upper part of the column to the basic core through braiding pattern.

roof structure Transition from roof system to column structure through branching pattern.

311

Architectural space studies

Floor- ceiling Typologies

final propossal, typologies

312

crown of column structure Transition from the roof system to the column.

beam structure Element that connects the columns with the floors structures.

floor structure Transition from floor to column structures

313

Architectural space studies final propossal, typologies

Staircase Typologies

Curved Staircase

314

Symmetrical Staircase

Spiral Staircase I

Spiral Staircase II

315

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327

328

329

330

331

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333

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335

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337

338

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