Selected Works - Academic Work

LAURENS T. DEULING architect & designer

Selected Works 2010 - 2014 academic work

SELECTED WORKS

2010 - 2014 academic work

LAURENS T. DEULING architect & designer

2010 - 2014

Selected Works

L. Ton Deuling Selected Works 2010-2014

Untitled a search for the surrealists Schitzophrenic Tower on intelligent machines Phenotypic Plasticity a research into contemporary vaulting Unfolding deepFormations | Evolving Patterns Composites prototyping applying a composite fabrication logic

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a search for the Surrealist PennDesign PPD Studio Instructor : Winka Dubbeldam Fall 2013 The Surrealist Agenda The Surrealist protest went far beyond social and economic arrangement, surrealists hoped to bring a poetic re-animation of the way we conduct our lives. In a similar fashion this project proposes a surrealist strategy to re-animate the way we experience museums. Museums have radically changed over the last few decades.

Nowadays museums raise issues which go far beyond the old concepts of museum architecture and display. Probably the most important, is the fact that museums have been struggling for many years against the image of a closed, sacred, and elitarian place. As a consequence museums are no longer concerned with perfecting a method of expressing the value of objects which, for the most part, belong to the past. Contemporary museums no longer deal just with the past, but rather with the present. They have become a place for culture, knowledge and communication.

It is the present that is most in need of interpretation. This project therefore explores new ways and techniques to reanimate and redefine museums through the use of surrealist techniques.

The Marvelous; A Surrealist Museum Situated on the border of the Demilitarized Zone (DMZ), we employ the marvelous as a strategy to reanimate the relation between North and South Korea, two approaching realities, who could not be further apart. In line with the definition of Reverdy in 1918, I proposed a redefinition of the museum in the contemporary not through the use of a strong image, i.e. icon architecture, but through the exploration of the relation between these two approaching realities within the museum.

As a way of this surrealist strategy, we propose a museum which ‘guides’, not in the directional sense, one through an eruption of the contradiction within the real.

Concealing the museums entrance on the South Korean side, only to reveal the museum moments later within the DMZ, inaccessible but clearly visible for public. The interplay between hiding and showing, accessible and inaccessible emphasize the twofold relation between South Korea, North Korea and the DMZ. The DMZ not only demilitarized, but also dematerialized, manifesting itself as an invisible border inaccessible for the public becomes now accessible.

As divided the museum may appear seen from an exterior point of view, the contradiction of this division becomes clear when one enters the museum through the ‘defensive’ entrance, an assemblage of bodies connects the museum in a continuous but differentiated unity through a heterogeneous circulation route.

entrance of the museum

ambiguity

pataphysical mutation

macaber

distortion

Cabinet of Curiosities The interior of the museum consists out of an assemblage of differentiated bodies, which together constitutes the ‘organic’ totality of the museum. Each ‘body’ of the museum is targeted with specific programmatic functionalities. Through intensive research these bodies are designed according a surrealistic rule set. Surrealists sought a revolution against the constraint of the rational mind, they used a variety of techniques to bring subconscious thoughts to the surface. One of these techniques is making use of automatisms, i.e. a rule set.

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english village

golf course

korea history museum love hotel

propaganda village

dmz neutral zone

gugwonmal-gil ( 국원말길)

마을)

osaengnabi-gil (오색나비길) yeochi-gil (여치길)

heyri art valley paju premium outlet

yopung-gil (요풍길)

provence village (프로방스

odusan observatory

design location, end point

design location, start point

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DMZ - Map

A map showing the current situation of the DMZ near the cultural town of Heyri, South Korea Interesting to see is the fact that near the DMZ, behind the hills, a lot of cultural centers are situated.

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3D Printed The museum appears to function as a whole, but is actually constituted out of components which can be ‘dismantled’ out of one system and ‘plugged’ into another without losing their ability to function. The process of plugging in and dismantling these different programmatic parts of the museum was not only used as a metaphor but was part of the research. First the objects were designed in 3D software, after which they were 3D printed and tested how the de-signed object could be combined, fused or melted together.

Evolution of ‘Surreal’ objects

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a Twofold relation As divided the museum may appear seen from an exterior point of view, the contradiction of this division becomes clear when one enters the museum through the ‘defensive’ entrance, an assemblage of bodies connects the museum in a continuous but differentiated unity through a heterogeneous circulation route.

Museum hiding in the mountains

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Museum Entrance Through these surrealist operation sets, the proposed museum forces people to think, to feel and to experience the museum itself and its surroundings. In each stage of the museum, the visitor experiences a different attitude towards itself, the art, and the surroundings. The museum is therefore not a mere promenade of surrealist art, but can be better explained as an experience in which the art plays its part as does the visitor itself.

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Schitzophrenic Tower on intelligent machines PennDesign Option Studio Instructor : Simon Kim Spring 2014 -The Slab A slab, in architecture is used to describe a flat, monolithic piece of stone or concrete used for a floor or roof. There are various forms of reinforced-concrete slabs: one-way slabs cast with supporting beams, ribbed slabs cast with series of joists, two-way ribbed slabs (known as waffle slabs), flat plates reinforced in two or more directions without beams or girders, and flat slabs thickened at column supports with drop panels and/or column capitals.

Since the completion of the first modernist modular mass housing developments in the 1930s, towers and slabs have been alternately glorified as the salvation of mankind and scorned as generations of misery and distress. The modernist mass housing typology is the most widespread architectural scheme of the twentieth century. Millions of city dwellers call a standardized apartment their home. Its ubiquity notwithstanding, no urban form in history has roused such controversy.

The standardization of architecture, started by the modernist movement, dominates still today the contemporary practice of architecture. Contemporary high rise buildings have become stale monuments to outmoded technologies such as vertical conveying systems, structural frames or climate control devices. The dense city demands the residential high-rise, but current real estate logics, technological limitations, and failures of imagination have led to a dumb replication/aggregation of the extruded tower, creating a monotonous and underperforming urbanism in many of the world’s fastest growing cities.

The Schitzophrenic tower is a project that breaks with the tradition of the tower as a static extrusion and argues for a more dynamic approach. Moving away from an architecture that looks like machines into architecture that behaves like machines, as intelligence (based on the conceptual premise of a project and in the design of a system), as part of the process (related to the generative realm of architecture) and the object itself. The project speculates on the sharing of authorship in this architecture-machine relationship, a relation which goes beyond CAD-oriented machines that do things for us as an able servant – it moves towards a role as an actor within the shared design space.

flexible vs static facade

Architecture and Machines Architecture has dealt with Machines for quite some time. If we understand Machine as “Other”, or as a nonarchitecture – we can trace a lineage of the “Other” in the Machine from the past century. This Machine-asOther has enjoyed some notoriety as industrialization reached the arts. Artist, writers, and architects have employed representations of machine processes as well as depictions of machines themselves. This can for example be seen in the example of the Fun Palace

by Cedric Price (top) as well as in the Memory Machine (right) built by Libeskind.

SCHITZO TOWER

On Intelligent Machines There are many types of Machines that are relevant for Architecture e.g. a simple machine that uses a single applied force to do work against a single load force. Basically they work as an extension of one’s self, i.e. they allow us to do work greater than that we are capable of doing alone. Other machines function as operators, able to follow a set of instructions to make designs, like CNC laser cutters. In these examples the relation between Architecture and Machine can be described as a server/servant relationship. This project rejects the notion of server/servant and moves toward a new paradigm in which the architecture/machine relationship share authorship through a relationship of agent-to-agent design methods.

SCHITZO TOWER

variables inner radius outside radius disk 1 outside radius disk 2

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Duration and Memory Following on the exercise of establishing the lineage of the relationship between architecture and machines, an indebt research was made into the mechanical paradigm of a chosen mechanical device. As the technological advancement in understanding as well as in manipulation of this mechanical system, both hardware (machine) and software (output) become more sophisticated. In orther words by ‘hacking’ the mechanical device the appearance of the device as well as the output it generates can be manipulated. An example of this can be seen in the image on the right. By using textiles to cover the Schmidt Coupling theflawless mechanical rotation ‘breaks’ and introduce friction. The new device is now able to snap in pre-configurable states when a force is applied on the couple. In other words , the system is able to memorize favorable positions.

SCHITZO TOWER

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A Schmidt Coupling is a type of coupling designed to accomodate large radial discplacement between two shafts. Consisting of an arrangement of links and discs a Schmidt Coupling can adapt to wide variations in radial displacements while running under load.The Schmidt coupling operates under a few simple rules. While the physical dimensions of the arms, discs, and the height of the offsets can vary, the arms must always remain parallel to the other arms on its level. The arrangement of arms on each of the outer discs must be mirrored on the middle disc, which will always have a number of connections equal to the number of connections coming from the two outer discs combined.

distance between disks

Schmidt Coupling

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Slab Motion Studies slab

radius

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Slab Motion Study We can now begin to envision a new type of relationship, where the idea of machine is placed within the intelligence paradigm. We can understand the intelligence paradigm as an evolving state where analog conditions can be incorporated to, and transformed, in digital environments and digital behaviors can manifest physically. This goes beyond the capacity to generate simulations (see above), as the digital environment is no longer just a medium for representation but an active agent on the feedback loop between input and output. Therefore the slab motion studies must not be seen as a digital representation of what might could be.

Also it must not be confused for a search of the Holy Grail of configurations, but rather as a method to see which parameters can be used in the mechanism in order to describe possible slab motions ( non-intersecting).

SCHITZO TOWER

Tower Types

C-Plan

H-Plan

Square

Rectangular

Circular

Offset

Plus

Triangular

E-Plan

Single Core

Double Core

End Core

Contemporary high-rise typologies Diagram showing the static relation between the slab and circulatory system of high rise typologies. Contemporary high rise buildings have become stale monuments to outmoded technologies such as vertical conveying systems, structural frames or climate control devices. By placing the idea of the machine within the paradigm of architecture , imaging an architecture as machine, the project wants to move beyond the simple replication/ manipulations or aggregations of the extruded tower.

SCHITZO TOWER

Atrium

‘Dynamic’ Cross Section The title ‘dynamic’ in the title underneath this image, refers to the fact that the section could have been different if taken on a different moment in time. The tower is in fact not static, but dynamic not in the fashion of a merry-go-round, but rather moving in cycles depending on programmatic events. Programs are housed in larger building blocks who are ‘continuously’ being rearranged. Vertical circulation therefore needs to be taken care of per block or group of blocks and is both situated within the blocks as in static slabs surrounding the dynamic blocks.

SCHITZO TOWER

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Chunks The tower constitutes out of these Chunks, a geometrical shape which looks like it is part of a whole which is smashed into pieces. Each of the chunks has its own program, circulation and architectural qualities, but placed together each of the chunks explores the other in a never ending dance. How close these chunks can come together, if they connect or not is carefully directed by manipulating the mechanism underlying this movement. The different relations between each of these solids result in different formal reactions which were carefully researched and diagrammed.

Ground Plan

SCHITZO TOWER

morphology of attraction

morphology of intersection

morphology of repulsion

Periodic Accessibility Within the tower each of the programmatic chunks will have its own periodic cycle, which are based on program. Some chunks will follow a daily routine (8 hr) while others may travel in shorter as well as longer cycles. This will have implications for accessibility of the different programs as well as vertical circulation for the tower as a whole. Shown above are the positions described by a chunk. As one can see the slab â&#x20AC;&#x2DC;guidesâ&#x20AC;&#x2122; this movement, although accessibility is provided only at prefigured points in time.

SCHITZO TOWER

Hard/Soft Facade

SCHITZO TOWER

The façade of the tower is constituted out of two different materials. A hard concrete shell, which is static and a dynamic soft skin which will allows the programmatic chunks to describe their individual cycles. The hard shell has a direct relation with the interior of the tower as it is designed by freezing end stages of chunk configurations. The soft skin allows the tower to express multiple identities through time, and in doing so create a schizophrenic experience of the tower. Furthermore will the stretching of the soft skin result in friction, which ‘disturbs’ the movement of the cycles and can force the different programs to snap in preconfigured states (memory).

Riverside Perspective The tower displayed on the side of St.Helene Island in Montreal, the former Expo â&#x20AC;&#x2DC;67 site.

SCHITZO TOWER

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Phenotypic Plasticity

a research into contemporary vaulting PennDesign Seminar Instructor : Ferda Kolatan Spring 2014 Vaults have a long tradition in architecture and once were viewed as an expression of the epitome of the builder’s craft, ability, and skill. The sacral buildings of the early Gothic first introduced vaulting as a way to gain height without compromising structure.

In the late Gothic a particular emphasis was placed on the ornamental refinement and aesthetic quality of the vault as can be witnessed in many beautiful examples such as fan-vaulting. Later, in the 19th century, vault structures moved from the materials brick and stone to the machine age iron and steel. In the 20th century modern architects introduced concrete shells for vaulting. Recently the vault has largely slipped out of the architect’s repertoire even though the recent technological advancements seem to be particularly adequate to reinvestigate vaulting as a contemporary design technique.

This project reinvestigates and re-explore this archetype of architecture. Through a precedent study of fan-vaulting in late Gothic English churches and in particular the cloisters of Gloucester Cathedral an investigation was made of the underlying principles of this vaulting system.

“Progress always consists in passing from the known to the unknown, through successive transformations of methods. It is not by fits and starts that progress takes place, but by a series of transistions. Let us therefore conscientiously endeavor to prepare for these transitions, and so far from losing sight of the past let us rise above it by building upon it.” (E.Viollet le Duc, The Architectural Theory of Viollet le Duc: Readings and Commentary) In order to fully understand and show the complexity of the created vaulting system 3D printing techniques were used to manufacture the vault. The vault was not manufactured as a whole, but by breaking it up into parts and thereby demonstrating the structural coherency of the vaulting system. The project itself has no specific program and no particular scale. The focus is first on the structural coherence of the vault and second on techniques of refinement, geometrically as well as materiality, which will position the work within the current cultural prerogative of complexity, refinement and intricacy in design.

detail of the contempary fan vault

Gloucester Cathedral, the Cloister vaults A major visual characteristic of the fan vault is the distinction which is made between the vaulting conoids and the flat central spandrel panel between them. This distinction, which is visually emphasized by a horizontal bounding rib at the top of the vaulting conoid (see the image on the right), results from the fact that the conoids in fan vaults are ruled surfaces of rotation.

Ceiling Plan , Gloucester Cloister vault The vaulting conoids and flat central spandrel panel in a fan vault are distinctly structural, as well as visual elements. If a fan vault conoid is to be in equilibrium, a compressive load must be present along its entire upper edge. When a relatively flat spandrel panel is wanted, this load is most easily provided by constructing the spandrel out of jointed masonry where the ribs and panels are carved together from the same piece of stone.

The central spandrel panels of the cloister fan vault at Gloucester are cut from one piece of stone. This technical solution diminishes the problem of buckling, and at the same time eliminates the complex jointing pattern that would have been necessary if the spandrel panels were constructed completely out of separate ribs and panels. It also efficiently provides the continual support necessary at the upper edge of the vaulting conoids, and the resulting vault is extremely stable.

PHENOTYPIC PLASTICITY

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Structural analysis of the fan vault Whereas the vaulting conoid of a Gothic ribbed vault assumes an irregular shape, the vaulting conoid of a fan vault assumes an irregular shape, the vaulting conoid of a fan vault is a precise geometric form. Compared to a ribbed Gothic vault in which the ribs comprise extremely rigid members which support the infilling or webs, no structural distinction is made in a fan vault between covering and supporting elements. In theory, a fan vaulting conoid functions as a shell structure, which by definition is a three dimensional structure with the thickness comparatively smaller than the other two dimensions, in which the major stresses act in directions parallel to the middle surface. Shape and thickness are important as they can cause redistribution of load. The most important load is its own dead weight. Note, that if the thickness is doubled, both the dead weight and the area upon which it acts are increased, but the stress remains unchanged

PHENOTYPIC PLASTICITY

Visualisation of the vault system What is especially interesting in the historic lineage up to the fan vault is the development of the structural relation between rib and surface which was in constant flux.

There was always the shifting transition of what element is considered structural and what ornamental. Interesting fact is that in theory a fan vaulting conoid functions as shell structure, which means that there is structurally no difference between surface and rib. One is in other words thus not constraint to treat the rib as a structural element. With the historic lineage of the rib/surface relation in mind this discovery led to the creation of a system in which conventional categories such as structure, volume and surface are substituted with systems that can express each one of those without breaching the coherence of an overall behaviour.

Fan Vault process model: Top View Structure, volume and surface are subsituted with a system that can express each one of these characteristics without breaching the coherence of an overall behavior.

PHENOTYPIC PLASTICITY

Evolution of Aggregation Another point of attention in developing this system was the aggregation of the fan vault unit.

One of the things which were important in the creation of the contemporary fan vault is its ability to create an overall behavior in which the unit cannot be recognized and disappears within the whole. Additionally a grid-like aggregation was not favorable, which was resolved by using multiple planes of symmetry. This means that at the connection of two fan vault units symmetry was used to provide local continuation, however globally the system does not appear as symmetrical.

PHENOTYPIC PLASTICITY

Refinement of the vaultâ&#x20AC;&#x2122;s ceiling The created fan vault system was designed as a pluripotent system. A pluripotent system enables limitless refinement across different scales and regions of the model and thus allows for a much higher level of articulation/sophistication than conventional modelling techniques. This becomes especially visible in the level of articulation shown on the vaultâ&#x20AC;&#x2122;s ceiling. In order to capture the atmospheric effect of light, which is an important element of the religious symbolism of Gothic cathedrals, a double ceiling was designed. Sometimes openings in this ceiling will align perfectly, allowing light shining through, but in order cases the openings on both layers will be shifted creating a misalignment. In this way light will be sifted through the mix of perfectly aligned and misaligned openings in the ceiling.

PHENOTYPIC PLASTICITY

Vault by night Showing a possible scenario in which the vault system provides shelter to strangers in the night.

PHENOTYPIC PLASTICITY

Physical Model In order to fully understand and show the complexity of the created vaulting system we used 3D printing techniques to manufacture the vault.

The vault was not manufactured as a whole, but by breaking it up into parts and thereby demonstrating the structural coherency of the vaulting system.

PHENOTYPIC PLASTICITY

Side Elevation In this test case of the contemporary vaulting system it was important to show that the aggregation of the vault system was not determined globally, but that it is possible to accommodate local variations to the global system.

PHENOTYPIC PLASTICITY

Ground - Column Relation Ground - column connections are emphasized using a second material which ‘receives’ the column and secures the stability of this connection.

PHENOTYPIC PLASTICITY

Local Continuation Local continuation on the connection between two fan vaults is secured by using local planes of symmetry.

Doubled Surface The double surface provides a light filter. Sifting the natural light, giving the ceiling of the system an atmospheric quality.

PHENOTYPIC PLASTICITY

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Unfolding

deepFormations | Evolving Patterns Hyperbody Options Studio Instructor: Marco Verde Spring 2011 Rooted in the concept of pattern formations, the course focuses on the application of â&#x20AC;&#x153;evolutionary design strategiesâ&#x20AC;? to investigate novel spatial repertoires and develop a holistic understanding of architectural design. Within evolutionary strategies, projects are developed through a research-based approach.

The research is based on the concept of animated form. Animation is a term that differs, but is often confused with motion. Where motion implies movement and action, animation suggests animalism, evolution, growth, actuation, vitality and virtuality. The term virtual has recently been so debased that it often simply refers to the digital space of computer aided design. Design becomes virtual when it begins to model form in association with force. As well as being defined by digital information, animation techniques model form within a virtual space of force and motion.

folding prototype

DAEMONS: EMITTERS: FILL_OBJECT Position: {0, 0, 0} Rotation: {0, 0, 0} Scale: {1, 1, 1} Type: Liquid Resolution: 100 Density: 1000 Int Pressure: 1 Ext Pressure: 1 Viscosity: 10 Surface tension: 1 Max particles: 3000 Fill X ratio: 1.0 Fill Y ratio: 1.0 Fill Z ratio: 0.6

1. GRAVITY {default} 2. WIND Position: {-4, 0, 3} Rotation: {0, -90, -10} Scale: {1, 1, 1} Strength: f10 {0} f12 {10} f15 {0} f20 {0} f22 {2} f25 {0} Noise strength: 10 Noise scale: 1 Bounded: No

Z - position

CONTAINER:

Type: Vase Position: f0 {0, 0, 0} f10 {0.7, 0.4, 1.5} f15 {0.5, -0.3, 0.5} f20 {-0.2, -0.3, -0.6} f30 {-1, -0.3, -2} Rotation: f0 {0, 8, 0} f10 {0, -6, 0} f15 {0, -5, 0} f20 {0, 3, 0} f30 {0, 3, 0} Scale: {3, 3, 8} Collision distance: 0.05 Distance Tolerance: 0.01 Collision tolerance: 0.01 Collision normal: Inward Friction: 0.005 Bounce: 0.25 Sticky: 0.1 Roughness: 0.01 Temperature: 20.0

Y - position

X - position

ADDITIONAL INFO: frames count: 60 scene scale: 0.1 Fill Objects Initial State File: fill_Object01_initial_state.bin

Animating Motion Animation is based on non-linear, dynamic and kinematic motion techniques. In these systems motion is defined by interacting vectors that unfold in time perpetually and openly.

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Throwing Liquids a Physical Experiment The research started by physically testing different mixes of type of liquids, and different throwing techniques. Through carefully describing the parameters and documenting the outcome for each experiment insight was gained in criteria such as pattern proliferation.

UNFOLDING

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position X: 0.1 position Y: 0.1 position Z: 2.0

position X: 0.1 position Y: 0.2 position Z: 2.0

position X: 0.3 position Y: 0.1 position Z: 2.0

position X: 0.3 position Y: 0.2 position Z: 2.0

viscosity: 10 position Z: 1.8

viscosity: 10 position Z: 2.0

Spatial Repetoires A digital research was developed departing from the selected physical experiment which functioned as a benchmark. The digital experiments were carried out in Realflow and resulted in a point cloud for each animated frame. By superimposing these frames on top of each other, evolving deep formations are revealed by a patterned point cloud. Each point was consequently tagged enabling one to follow their trajectory through time. From the results of this digital research, four candidates were selected and analyzed on criteria as; pattern readability, space creation and pattern proliferation.

UNFOLDING

ATTRACTOR01 spherical bounded force 15 position scale x 1.98 2 y 3.79 2 z 13.85 2

ATTRACTOR01 spherical bounded force 20 position scale x 3.91 1.4 y 1.42 1.4 z 13.35 1.4

ATTRACTOR03 sperical bounded force 30 position scale x 0.52 1.8 y 3.39 1.8 z 5.01 1.8 SUPER.imposition From the results of the digital research, four candidates were selected and analyzed on criteria as pattern readability, space creation and pattern proliferation. An algorithm was then designed, in Grasshopper, to track the behaviors in the development of the liquid such as, branching, merging, acceleration, deceleration, etc. The architecture of the building, aligns itself with the motion of the point cloud model and is â&#x20AC;&#x2DC;bakedâ&#x20AC;&#x2122; into the form of the design of the building. The relation to time is typically posed in terms of the representation of motion.

UNFOLDING

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Motion Retraced Animation is based on non-linear, dynamic and kinematic motion techniques. Motion is defined by interacting vectors that unfold in time perpetually and openly. Animation becomes the interaction and inflection of those vectors in a creative field rather than in a regimented linear sequence.

Embodied Motion By reanimating the point cloud with a predefined algorithm the proliferation of the pattern became visible. Grasshopper was then used to design an algorithm in order to embody the motion of the liquid into various architectural components.

UNFOLDING

Connection of Components The connections between components was designed to have a planar connection, this increases the ease in construction and allows for a tolerance when connecting the components. The components were designed to meet in at least 3 different places to withstand torque and shear load forces.

Detail of the Folded Component In order to fold the components a curvarture analysis was made . This analysis was then used to locate the position and amount of folding lines on the flat sheet of cardboard. As can be seen in the image on the right, places where the component experiences a lot of difference in curvature, from one point to the next, more folding lines were added.

UNFOLDING

A model of a Folded Component Parallel with the creation of the architectural components a fabrication logic was designed in order to fabricate the components. As a material cardboard was used, but to fabricate 1:1 components the aim was that they need to be folded out of metal. In order to have the possibility of fabricating the component, the design needed to adapt this fabrication logic.

Through making small prototypes of the component the whole process from design to fabrication was tested, in order to reveal possible problems during the process of such a component.

UNFOLDING

pier

main-corridor pavilion entrance

ij-ferry

ij-ferry

lounge seatings

car parking motorized parking canopy taxi-area boat-docks

Java island, amsterdam

LEVEE

bicycle-parking

#6. #5.

garden-patch

#4. #3. #2.

TRANSIT ferry #1.

canopy roll-in docks

boat-docks

semi-outdoor terrace

PIER

ij-ferry

ij-ferry

top-plan lounge-port pavilion java island, amsterdam

Plan View The research into animated patterns culminated in this proposal as a Longe Port Pavilion, situated on Java Island in Amsterdam, the Netherlands. The pavilion clearly displays behaviors as branching, merging, acceleration and deceleration in the embodiment of this motion.

The Port entrance

UNFOLDING

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Birdâ&#x20AC;&#x2122;s eye view on the Lounge Port Pavilion An ethics of motion does not mandate that architecture must be literally moveable. The notion of motion is here clearly represented in terms of formal language.

A view from the Harbor

UNFOLDING

05

Composites

prototyping applying a composite fabrication logic

Hyperbody Option Studio Instructor: Marco Verde Spring 2011 During the project, in-depth investigations were developed in computationally advanced design strategies. Physical prototyping is a crucial instrument for a solid development of design research. During the physical prototpying different procedures are used in order to make the components. Milling, molding, lasercutting are some examples of the procedures utilized during this process. The aim of this process was emphasized on the mere understanding of and exploring the fabricational logic of composite components.

Branching from the main research, an architectural component was designed, following a different algorithm, which was to be fabricated into a composite material. The aim of this research was to understand the fabrication logic of a component in a composite material, which additionally gave the oppurtunity to design a double curved component.

In order to design the component, a lot of attention was given to the joint details. The aim of this process was more emphasized on understanding and exploring the fabricational logic of composite components than on exploring the file to factory logic of multiple components.

close-up prototype

C1 A1

A2

C2 A3

B0

E1

C3

E2

B1

E3 B2

D1

B3 D2

D4 D2

Composite Component In order to conduct the research into the a composite fabrication logic a fragment was designed, different than from the main branch of research. Where the main research was focused on the re-animation of deepFormations and the embodiment of this re-animation in multiple components. This part of the research was mainly focused on the fabrication logic of composite parts than on exploring the file to factory logic of multiple components.

Exploded view All the components needed for the fabrication of this test-case are represented in this diagram. As can be seen the part exist out of series of frames, in which in each frame 4 components are used.

COMPOSITES

C3

A3

C2

A2

C1

A1

D1 E3 D2 E2 D3 E1 D4

B0

B1

B2

B3

Design of Fiberglass components Producing fiberglass components will present a couple of restrictions in the design process of the components. Components should for example be designed as a flat surface and present no undercuts. Undercuts are not possible to produce in a 3-axis CNC Mill. Knowing these constraints can prevent a lot of frustation in the later stages of the production.

Making the Mould An important part in making fiberglass component is the making of the mould. The shape of the final component stands or falls with the quality of your mould. This begins with the choice of material, ideally high density foam is used. High density foams does not dent easily and therefore results in smooth fiberglass pieces. However for economic and time constraints EPS was used in this project. An advantage of EPS over high density foam is that the milling time becomes significally shorter. The mould was designed using Rhino and was then prepared in RhinoCam in order to be processed in the CNC mill.

COMPOSITES

Naming Conventions Naming conventions were designed to match the connections designed in the composite components. Each connection got a tag which was cut out of an acrylic sheet and cast together with the glassfiber.

Laying done the fiberglass on the EPS Mould The fabrication of fiber reinforced composites is basically the application of a type of matrix material, like a type of resin to one or multiple layers of reinforcement, like fiberglass or a type of textile. One main topic is the fiber to resin ratio. The less resin is used the stronger the material is compared to its weight. Different techniques have been developed to achieve a better fiber to resin ratio. The simplest way to fabricate a composite is to manually apply the resin to the reinforcement. This was done on a flat surface, the wet piece of fiberglass was then afterwards put on the mould and laid done into the desired shape.

COMPOSITES

Cutting out the pieces For the hardening process of the composite vacuum bagging was used. Vacuum bagging is the process in which the wet laminate is packed into a bag wherein vacuum is generated. The atmospheric pressure compresses the laminate with an equally distributed force, and pushes out the excess resin, resulting in a better fiber to resin ratio. Since the fiberglass textiles where cut with a high tolerance, in order to cope with possible shrinking, the components needed to be cut in the preferred shape using a CNC Milling machine.

Fiberglass Textile Glass fiber is a material consisting out of extremely fine fibers of glass. Although not very strong by itself, it becomes extremely strong when used in a polymer. For this project we used the fine glass fibers for the production of glass-reinforced plastic components, otherwise known as fiberglass. The glass fibers are used to increase the tensile strenght in the components made.

COMPOSITES

Ø 1.5mm Ø 2mm Ø 1.5mm

Ø4 mm

mm

Ø3

Ø2

mm

Tagging As mentioned earlier, a naming convention was designed to identify each of the connections. In the image above, one can see that apart from using the tag for identification, they were also used for the location of bolt connections. This made it easier during the assembly process to drill the connection holes.

COMPONEN | DESIGN STRATEGY |

+ DSAD

1. component based on the sp nent based on the spaces de co the spaces de component base component based on the space based on the spaces de

Production of the Glass Elements Apart from producing the composite parts, also the glass elements were produced using CNC fabrication logics. A MDF piece was first CNC milled in order to get the mould for the glass, EVOLUTIONARY PATTERNS | deepFORMATIONS | MSc2 aftercourse: which acrylic wasmodderman pulled| sven over the mould in a heat forming process. The glass students: tonan deuling | mariuszsheet polski | gerben de haan tutor: marco verde Eng, MArch elements were then cut out using a simple stanley knife.

HYPERBODY COMPOSITES

Construction logic As a construction logic each frame was first put together. Because of the naming convention the connections were easily spotted and put together.

Connecting the frames After each frame was assembled the frames were connected together. Finalizing the construction of the composite component.

COMPOSITES

Close up of the Final Model

COMPOSITES

Side View

3D glass parts places in between the frames

COMPOSITES