Bartlett AD_Structural Slip_Material Architectural lab 2017/18

Bartlett • AD

STRUCTURAL SLIP AD Material Architecture Lab 2017-2018

project by Vittoria Fusco, Dan Liang Banni Liang, Mingyu Wei

BARTLETT PROSPECTUS

STRUCTURAL SLIP AD Material Architecture Lab (2017-2018) Tutors: Daniel Widrig, Guan Lee, Adam Holloway, Stefan Bassing and Igor Pantic project by Vittoria Fusco, Banni Liang, Dan Liang, Mingyu Wei

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OUTLINE 0. INTRODUCTION 1. INITIAL APPROACH 2. CONCEPT: THE KEYWORDS 3. GEOMETRIC AND COMPUTATIONAL RESEARCH 4. INITIAL MATERIAL RESEARCH 5. PARAMETRIC OPTIMIZATION OF THE SYSTEM 6. GLAZE TEST AND DESIGN DEVELOPMENT 7. PRELIMINARY FABRICATION STUDIES 8. MATERIAL RESEARCH DEVELOPMENT 9. MASS PRODUCTION 10. B-PRO SHOW PROPOSAL 11. PHYSICAL PROTOTYPE 12. FINAL PROPOSAL

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0. INTRODUCTION

In architecture there are fundamentally two ways of using clay: non-structural clay, such as tiles hanging on metal frames and structural clay, such as a brick masonry. Structural clay is one of the keywords underpinning our project, as the aim is to design a 3-dimensional clay system, able to be self-supported and bear loads. Another keyword is porosity, as a potential architectural language, not only for its variable and fascinating aesthetic value, but also for its functional performances of solar control, mild ventilation, internal thermal comfort and adequate level of privacy. The idea is to create a modular architectural system, which guarantees feasibility and mass production, but draws upon parametric software to pursue variety of configurations and outcomes which are always, at the same time, unique but reasonable. Such an achievement is enhanced by the exceptional qualities of the material: clay. Clay is worldwide, natural, easily accessible, cheap, highly fireproof, and absolutely sustainable, not only as the material itself but also in its manufacturing procedures. Moreover, clay itself is characterized by a singular porosity, since it is porous at its raw state, allowing water through and being malleable, and it changes into non-porous after a firing process, becoming hard and resistant.

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The initial approach is characterised by our attempts to explore more deeply the world of clay with its different techniques and define a design strategy which permits at the same time mass production, variability and unicity, achieving an extremely appealing visual effect. Furthermore, we study possible ways to optimize the use and the connections between components and techniques.

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1. INITIAL APPROACH 1.1 Initial Concept 1.2 Mass production 1.3 Design of the variation 1.4 System studies 1.5 Material studies

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1.1 INITIAL CONCEPT

Combine different clay techniques in one system to create the variation of the visual effect

DIFFERENT CLAY TECHNIQUES

BRICK SYSTEM

3D PRINTING

+

STRUCTURAL FUNCTION

12

VARIATI

SLIP CASTING

+

VISUAL EFFECT

ACCURATE CONNECTIONS

The Robotic Fabri

ION OF VISUAL EFFECT

ication LAB at The University of Hong Kong

MASS PRODUCTION

The Bartlett 3D printing clay fabrication

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1.2 MASS PRODUCTION

The combination of the 3D printing components with the same curvature

All the surfaces in this diagram are with the same curvature so that they can be fabricated by the same mould. We used parametric tools to make variation of the visual effect when they are conbined togather. You can see a continuous fluctuant wall when the components are conbined together.

B

A

Instruction

A.Components with different shape but the same curvature can be fabricated by the same moud B.Componets with different curvature can be fabricated by the specific mould with different curvatures

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Assemble the components on the wood structure

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1.3 DESIGN OF THE VARIATION

Create different 3D printing components by limited number of moulds

The posibilities of the variation of the wall which made by the components with the same curvature

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The posibilities of the variation of the wall made by the components with the multiple curvatures

0

15

30

45

60

75

90

105 120 135 150 165 180 The curvature of the surfaces are under

Different curvature of 3d printing components

the control of the parametric tools. In this diagram, each colour represent one curvature. There are 12 colours in this diagram, it means ii can be fabricate by at most 12 moulds

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1.4 SYSTEM STUDIES

Slip casting+3D printing

Slip Casting Connections

3d printed surfaces

bars or sticks

Strengths

• Flexibility for the structure • Combination of casting and 3d printing • Use of the toolpath to make connections

Weaknesses

• Use of sticks • Different moulds to create different surfaces • Low tollerance system

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Slip Casting Connections

Joint Interlocking system

3d printed surfaces

Insert

Strengths

• Combination of casting and 3d printing • Structure made by cast bricks • Use of the toolpath to make the connections • Structure working under compression forces • Same mould to create different surfaces • High tollerance system

Weaknesses

• Low tollerance system • Accuracy of the corresponding surfaces because made only by casting

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1.4 SYSTEM STUDIES

Slip casting+3D printing

Slip Casting brick

Interlocking system

Hole created by toolpath to allow connection

3d printed surfaces

Slip Casting brick

Strengths • Combination of casting and 3d printing • Use of the toolpath to make the connections • Compression system • Same mould to create different surfaces

Weaknesses

• Low tollerance system • Less accuracy because of the 3d printed surfaces

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Slip Casting brick

3d printed surfaces

Strengths

• Combination of casting and 3d printing • Integration of structure, connection and visual effect design • Flexibility of the structure thanks to cast bricks • 3d printed component as structure, connection and visual effect • Compression system • Same mould to create different surfaces • High tollerance system • More accuracy thanks to cast bricks

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1.4 SYSTEM STUDIES

Overcome the limitation of 3D printing surface components

A

Instruction

A.The fragility of the surface components B.Conbine two components to make it more stable C.The assambling of the component.

D.The combination of two components using morta E. the assambling of differentcomponents

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B

C

Strengths

D

• The system has the potential to overcom the frafibility of the components • The variation of the visual effect is appealing • the diamond-shaped components has the potential to develop the interlocking system

E

Weaknesses

• This system is hard to envolve 3D printing and slip casting at the same time • the compomnent is hard to fabricate since it need large number of moulds

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1.5 MATERIAL STUDIES

Study of the fabrication of the 3D printing surfaces

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1.5 MATERIAL STUDIES

The study of 3D printing surfaces

Nozzle Mould

Nozzle Mould

12 mm

12 mm 12 mm

12 mm 14-16 mm

Based on the situation we meet from the mistake, we changed the height of nozzle in order to avoid roughness of the sharp edges and optimize the weaving curves.

3 axes weaving pattern printing: toolpath

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Interesting weaving pattern

3 axes weaving pattern printing: toolpath

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1.5 MATERIAL STUDIES 3D printing tests

We are also able to control the variation of the pattern in one single component by control the variation of the toolpath

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Noise pattern

3 mm

Noise pattern

3 mm

Branch weaving

5 mm

Cross weaving

3 mm

Study of the control of the variation in one component by using curl-noise

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1.5 MATERIAL STUDIES 3D printing tests

We tried to study the control of different surface texture. The outcome is usually more interesting than the toolpath because of the material behaviour of the clay.

The toolpath of weaving pattern

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Weaving brick

5 mm

Cross weaving

5 mm

Branch weaving

7 mm

Cross weaving

5 mm

Cross weaving

Branch weaving

5 mm

Cross weaving

3 mm

Lattice

5 mm

3 mm

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According to the results and the understanding derived from the initial studies and tests we want, at this point, to make clear the guidelines and the keypoints which underpin all our design research and will lead us to achieve our scope: develop a unique architectural design, based on the advantages of such a natural and eternal material and able to guarantee realistic feasibilty in terms of cost, time, production, sustainability, maintenance.

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2. CONCEPT: THE KEYWORDS 2.1 Material Constrains 2.2 Porosity 2.3 Different Clay Techniques 2.4 Proposal

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2.1 MATERIAL CONSTRAINTS

NON-STRUCTURAL CLAY

1

3

2

STRUCTURAL CLAY

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1.Mihrab of Sheikh Lotfollah Mosque, Isfahan, Iran 2.DarwenTerracotta, English pub, Islington 3.Exeter Library, Louis Kahn, New Hampshire 4.Casa Kimball, Rangr Studio, Dominican Republic

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NON-STRUCTURAL CLAY Tiles hanging on metal structure

2D components not touching each other for the tramsission of loads

NO LOAD-BEARING SKILL NO LOADS TRASMISSION

STRUCTURAL CLAY Bricks overlapping with each other

solid components touching each other for the trasmission of loads

LOAD-BEARING SKILL LOADS TRASMISSION

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2.2 POROSITY

The function of porosity

The hollow wall which havs porocity itself can provide two main functions: cooling down the temperature and creating light effects.

Cool air

Warm air

COOLING

Light

SUNLIGHT

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COOLING

1

SUNLIGHT

2 1.Example of typical cool homespace, veranda 2.Example of the effect of sunlight passing through a porous wall

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2.3 DIFFERENT CLAY TECHNIQUES

3D PRINTING

SLIP CASTING

Ceramic Morphologies, Harvard University

Icebarg, ceramic art, Jonathan Keep

Accuracy

Time of production Cost of production Aesthetic value Sustainability

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Matt Davis ceram

Accuracy

Time of produc

Cost of produc

Aesthetic value Sustainability

mics

ction

ction

e

COMPRESSION

Tectonic Horizons, Data Clay

blog, Lacey Green

blog, Lacey Green

Accuracy

Time of production Cost of production Aesthetic value Sustainability

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2.4 PROPOSAL

Combination of 3D structural clay using different techniques to create porous architectural systems

3D STRUCTURAL DISCRETE COMPONENTS

POROSITY

+

40

DIFFERENT TECHNIQUES

+

+

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The geometric study is characterised by the research of a simple and modular starting geometry in order to guarantee the ease in the fabrication process.

The computational investigation aims to study more complex and unique ways to combine the simple geometry in a multiplicity where the variability and originality is from time to time guaranteed by parametric control.

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3. GEOMETRIC AND COMPUTATIONAL RESEARCH 3.1 Discrete component from the Rubik Cube

3.1.1 Discrete component possibilities from one Rubik Cube 3.1.2 Parametric control of assembling and porosity: Random growth

3.2 The logic of the module from the Soma Cube 3.3 Porosity within the module with Polycube

3.3.1 Generate porosity within one module 3.3.2 Parametric control of assembling and porosity: Random reduce 3.3.3 Parametric control of assembling and porosity: Shortest walk

3.4 Control of porosity with the Marching Cube

3.4.1 The logic of Marching Cube 3.4.2 Control and complexity with the Marching Cube algorithm 3.4.3 Parametric control of assembling and porosity: Curl-noise 3.4.4 Variation of porosity with Curl-noise

3.5 Design more complex geometries

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3.1 DISCRETE COMPONENTS FROM THE RUBIK CUBE

3.1.1 Discrete components possibilities from one Rubik Cube

Starting from the awarness of the limits of traditional clay bricks, in terms of geometry and aesthetic value, the design research has been oriented towards finding an ideal component which would be at the same time repeatable and aesthetically precious and would attribute three-dimensions to the overall geometry.

For this reason, the Rubik’s Cube represented the first appropriate geometric reference. Rubik’s Cube is a 3D combination puzzle invented in 197 by Hungarian sculptor and professor of architecture Ernő Rubik. It consists of twenty-seven unique miniature cubes whose external faces are covered by nine stickers, each of one of six solid colours. Through an internal pivot mechanism which enables each face to turn independently, the colours are mixed up. For the puzzle to be solved, each face must be returned to have only one colour.

The logic of Rubik’s Cube, and more specifically the different colours of the single faces, allowed us to explore and recognise all the possible aggregations of the miniature cubes, which strictly depend on the number of miniature cubes considered at a time.

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1

2

3

4

5

6

7

8

9

10

Possibilities of components depending on the number of cubes used

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3.1.2 PARAMETRIC CONTROL OF ASSEMBLING AND POROSITY Random growth of components from multiple points

STARTING GEOMETRY

LOGIC OF ASSEMBLING Finding the top surfaces randomly to guarantee at least one surface overlapping the previous component.

CHANGING PARAMETERS

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SCRIPT

Ramdom growth from the starting geometry

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3.2 THE LOGIC OF THE MODULE FROM THE SOMA CUBE A limited number of components and combinations

The Soma Cube represents the second reference in the geometric research of the basic component.

The Soma cube is a solid dissection puzzle invented by Piet Hein in 1936 during a lecture on quantum mechanics conducted by Werner Heisenberg.

Seven pieces made out of unit cubes must be assembled into a 3×3×3 cube. The pieces of the Soma cube consist of all possible combinations of three or four unit cubes, joined at their faces, such that at least one inside corner is formed. There is one combination of three cubes that satisfies this condition, and six combinations of four cubes that satisfy this condition. The number of solutions of the cube puzzle is 480, but in fact they are evenly divided into 240 configurations and their 240 mirroring images.

The logic of the Soma Cube allowed us to select a limited and more manageable number of components among a substantial quantity of components derived from the Rubik’s Cube. Moreover, it lead us to work no longer with a single compo-

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Some of the 240 solutions of Soma cube

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3.3 POROSITY WITHIN THE MODULE WITH THE POLYCUBES 3.3.1 Generate porosity within one module

POROSITY ONLY INSIDE THE MODULE

BAIOCCHI FIGURES FOR POLYCUBES

The next step of the geometric research aimed to create porosity not only by decreasing the number of components in the overall design but, more efficiently, controlling it within the single modules which generate the overall geometry.

For this reason we oriented our research, concerning polycubes geometries, towards a specific type of polycubes, Baiocchi Figures applyed to Besźel Polycube. A polycube is a solid figure formed by joining one or more equal cubes face to face (for example the Soma Cube). A Besźel Polycube is a polycube whose cells all have at least two even coordinates. A Baiocchi figure is a figure formed by joining copies of a polycube and having the maximal cubic symmetry for the polycube’s class.

By studying the minimal known Baiocchi figures for Besźel Polycubes of orders 1 through 5 (Monocube, Dicube, Tricubes, Tetracubes, Pentacubes, Hexacubes) we found the opportunity to create porosity within each cube module in order to better control and create variable porosity in the overall design.

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COMPONENTS

ROTATE & COMBINE

POROSITY

+

+

－

+

+

－

+

+

－

+

+

－

+

+

－

POROSITY INSIDE AND ALONG THE EDGES OF THE MODULE

COMPONENTS

ROTATE & COMBINE

POROSITY

COMPONENTS

ROTATE & COMBINE

POROSITY

+

－

+

－

+

－

+

－

+

－

+

－

+

－

+

－

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3.3.2 PARAMETRIC CONTROL OF ASSEMBLING AND POROSITY Growth of modules inside a regular grid

Using Random Reduce to assemble the modules

STARTING GEOMETRY

CHANGING PARAMETERS

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LOGIC OF ASSEMBLING

SCRIPT

Random reduce to create the porosity

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3.3.3 PARAMETRIC CONTROL OF ASSEMBLING AND POROSITY Growth of modules inside a regular grid

Using Shortest Walk to assemble the modules

STARTING GEOMETRY

CHANGING PARAMETERS

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LOGIC OF ASSEMBLING

SCRIPT

Creating the porosity under the control of shortest walk to ensure the overlapping of the components

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3.3.3 PARAMETRIC CONTROL OF ASSEMBLING AND POROSITY Growth of modules inside a regular grid

+

+

BASIC COMPONENT

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+

BASIC MODULE

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+

CUT COMPONENT

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CUT MODULE

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3.4 CONTROL OF POROSITY WITH THE MARCHING CUBE 3.4.1 The logic of Marching Cube

Marching cube is a computer graphics algorithm for creating a polygonal surface representation (2D surface mesh) of an isosurface of a 3D scalar field. It is meant to 3D model an object whose shape is not known in advanced. The fundamental problem is to form a facet approximation to an isosurface by testing wether the points of a rectangular grid are below or above the isosurface. Given one grid cell (cube) defined by its vertices and scalar values at each vertex, it is necessary to create planar facets that best represent the isosurface through that cube. The isosurface may not be pass through the cube or it may cut off some or all the vertices. Each possibility will be characterised by the number of vertices that have values above (0) or below (1) the isosurface. Since each cube has 8 vertices we will get 2⁸ = 256 different combinations.

If one vertex is above the isosurface and an adjacent vertex is below the isosurface then we know the isosurface cuts the edge between these two vertices. The position that it cuts the edge will be linearly interpolated.

What makes the algorithm “difficult” are the large number (256) of possible combinations and the need to derive a consistent facet combination for each solution so that facets from adjacent grid cells connect together correctly.

128

V8 16

V5 V7 V6

64 V6

V4

V1

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V1 V3

V3

V2

Each vertix has 2 possibilities: 0 = above or outside 1 = below or inside

V2

Isosurface facet

Vertex 2 = below Other vertices = above

8 vertices per cube

This results in a binary number of 01000000 or 2¹ = 2

2⁸ = 256 different combinations

V1 V2 V3 V4 V5 V6 V7 V8 0 1 0 0 0 0 0 0

1

4 2

Then, each vertex can be expressed by a similar binary number.

The sum of the binary numbers of all the points below the surfaces equals the number of the combination.

PRINCIPAL APPLICATION OF MARCHING CUBES ALGORITHM

MRI scans

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Metaballs

8

3D contour of a mathematical scalar field

128

128

16 32 1

2

64

64

8

4

2

128

4

2

128

32

2

8

2

128

4

8

1

2

4

2

128

2 16

32

8

1

4

8

1

16 32 1

8

4

2

64

8

2

8

1

4

2

64

16

1

8

4

By using symmetry and rotation it is possible to reduce the 256 cases to only 15.

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3.4.2 CONTROL AND COMPLEXITY WITH THE MARCHING CUBE ALGORITHM Way of utilization of marching cube logic in the design research

Although the Baiocchi Figures applyed to polycubes allow us to create porosity inside the module generating the overall structure, it does not permit a more complex porosity and within the singol module and full control of it within the overall design.

For this reason, we studied the Marching Cubes algorithm which enabled us to create more variable cube modules and define different porosities both within them and inside the overall design. Through the logic of Marching Cubes we can create voids not only either the internal part of the marching cube modules or the matter along edges and cornes, but we can decrease the quantity of components (and so material) in different parts of the volume of the cube module.

However, we do not use Marching Cubes logic only to design complex porosity in the single modules.

Most importantly, the Marching cube algorithm allow us to design porosity, defining predetermined pattern of the overall structure and making the single marching cube modules accurately follow it by contolling their external vertices.

This logic consists in creating a pattern represented by surfaces within a regular grid of points, of the same dimensions as the cube modules, which define the overall structure. Through analysing wether the points of each single cell of the grid are above or below the surfaces, it is possible to identify the correct marching cube module corresponding to that specific cell, and place it appropriately.

Using marching cubes to create more complex geometries

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Combining marching cubes logic with polycube geometries

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3.4.3 PARAMETRIC CONTROL OF ASSEMBLING AND POROSITY

Applying the marching cube logic to create a porous wall made with curl-noise

CONTROL POINTS LOGIC BY USING THE MARCHING CUBE ALGORITHM

CHANGING PARAMETERS

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SCRIPT

Define the porosity pattern through the parametric control of curl-noise

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3.4.4 VARIATION OF POROSITY WITH CURL-NOISE

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3.5 DESIGN MORE COMPLEX GEOMETRIES

1

2 1.Ennis House, Frank Lloyd Wright, Los Angeles, California 2.La Miniatura, Frank Lloyd Wright, Los Angeles, California

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Example of cut components

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3.5 DESIGN MORE COMPLEX GEOMETRIES

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+

+

+

CAST MODULES WITH PATTERN POROSITY 68

+

+

3D PRINTED MODULES WITH PATTERN

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+

+

+

+

+

CUT MARCHING CUBES

BASIC MARCHING CUBES POROSITY

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3.5 DESIGN MORE COMPLEX GEOMETRIES

+

+

POROSITY 70

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+

+

+

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3.5 DESIGN MORE COMPLEX GEOMETRIES The final geometry

In the diagrams below the processes which led to define the final geometry are shown. By drawing linear patterns on the basic rectangular module we ended up transforming the patterns into the geometry itself, deleting all matter outside and around the patterns and, therefore, achievieng a more complex geometry and porosity.

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BASIC MODULE

BASIC MODULE WITH PATTERN

INSTABILITY OF COMPONENTS

ADD SUPPORTING COMPONENTS

NEW PATTERN

INCREASE OF POROSITY

BY CUTTING MORE

MAKE THE GEOMETRY FOLLOW THE PATTERN

OPTIMIZE THE STABILITY

BY INCREASING THE TOUCHING SURFACES

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3.5 DESIGN MORE COMPLEX GEOMETRIES

In the diagrams below the processes which led to define the final geometry are shown. By drawing linear patterns on the basic rectangular module we ended up transforming the patterns into the geometry itself, deleting all matter outside and around the patterns and, therefore, achievieng a more complex geometry and porosity.

We also tried to combine the final geometry together with the previous ones to understand what kind of effect and overall porosity we could obtain.

+

+

+

POROSITY

+

+

POROSITY

74

+

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3.5 DESIGN MORE COMPLEX GEOMETRIES

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The material research aims to understand properly the behaviour of the material after each step of the fabrication process. Since the fabrication process is different for each techniques, we can highlight the advantages and the outcomes deriving from each technique’s process in order to be able to define the most appropriate usage of the components from each technique.

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4. INITIAL MATERIAL RESEARCH 4.1 Fabrication 4.2 Comparation 4.3 Connection

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4.1 FABRICATION

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4.1 FABRICATION

3D printing texture research

3D printing is suitable for creating nice texture by contour crafting. Due to the specific geometry, we only use 3 axis 3D printing for fabrication.

Printing of surface texture

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1. Base texture

2. Inner bridge

3. Surface texture

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4.1 FABRICATION

Different fabrication strategies

In terms of the shrinkage, we conducted a series of tests including hollow bricks,bricks with inner bridges and bricks with inner lattices.

COMPONENT A

Hollow bricks

Inner bridges Printing of component A with inner bridges

Printing of component B with inner bridges

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Inner lattices

COMPONENT B

Hollow bricks

Inner bridges

Inner lattices

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4.1 FABRICATION

Slip-casting mould making

I n order to test slip casting , we made the positive geometry of our prototype

by CNC, then we used woodboard to separate different parts of the negative, pour plaster into the bounding box in turn. Due to the fluidity of the liquid plaster, we can make sure each part of the mode will perfectly match each other.

Materials used to make the moulds

High density form

Polyfiller

Varnish

Vaseline

Wood glue Pottery plaster

Pieces of the positive model of our components made by CNC

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1. Vanish the positive model

2. Create the boundaries

3. Mix plaster

4. Cast plaster

5. Cast plaste and let it dry

6. Outcomes

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4.1 FABRICATION

Slip-casting fabrication

The material we use for the slip-casting tests is earthernware,the most important procedure is partial drying, which is the time we spent between pouring the slip inside the mould and draining . By control the time of partial drying, we can control the thickness of the slip casting brick.

Slip-casting

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1.Mix the slip

2.Pour the slip in

3. Pour the slip out

4. Partial drying

5. Take the mould apart

6. Outcomes

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4.1 FABRICATION

Compression mould making We used woodboard to make the mould to conduct the research.

Materials used to make the moulds

Wood board

Wood glue

Wooden pieces made by CNC

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Wood filler

Assembled mold

Varnish

COMPONENT A

COMPONENT B

1. Moulds' pieces

2. Vanish and spread talco powder on the mould

3. Assemble the mould

4. Outcomes

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4.1 FABRICATION

Compression fabrication

Pressed clay is a particular technique which consist in pressing dryer clay mixed together with sand and grog into a mould. We did hand compression to test this fabrication method. The quality of the outcome depends on the procedure of compression and mould releasing.

Compression

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COMPONENT A

COMPONENT B

1.Mix the special clay for compression

2. Apply the release agent

3. Hit the clay into the mould

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4.2 COMPARATION 3D printing

BEFORE FIRING

Component A

Type 1

Type 2

Type 3

789 g

958 g

1176 g

Fabrication time Drying time Shrinkage Strenght Weight

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Component B

Type 1

Type 2

Type 3

Fabrication time Drying time Shrinkage Strenght Weight

843 g

995 g

1320 g

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4.2 COMPARATION 3D printing

AFTER FIRING

Component A

Firing time Firing temperature

Type 1

Type 2

18 hours

18 hours

1000 C

1000 C

695 g

838 g

Shrinkage Strenght Weight

96

Component B

Firing time Firing temperature

Type 1

Type 2

Type 3

18 hours

18 hours

18 hours

1000 C

1000 C

1000 C

715 g

858 g

1194 g

Shrinkage Strenght Weight

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4.2 COMPARATION Slip-casting

BEFORE FIRING

Component A

Time for partial drying

Time before draining: 17 minutes

Time before draining: 17 minutes

Time before draining: 25 minutes

1 hour

3 hours

3 hours

538 g

560 g

648 g

Time for final drying Thickness Shrinkage Strenght Weight

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Component B

Time before draining: 17 minutes

Time before draining: 25 minutes

3 hours

3 hours

544 g

638 g

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4.2 COMPARATION Slip-casting

AFTER FIRING

Component A

Time for partial drying Time for firing Firing temperature

Time before draining: 17 minutes

Time before draining: 17 minutes

Time before draining: 25 minutes

1 hour

3 hours

3 hours

18 hours

18 hours

18 hours

1000 C

1000 C

1000 C

466 g

486 g

562 g

Shrinkage Strenght Weight

100

Component B

Time before draining: 17 minutes

Time before draining: 25 minutes

3 hours

3 hours

18 hours

18 hours

1000 C

1000 C

472 g

566 g

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4.2 COMPARATION Compression

BEFORE FIRING

Component B

First test

Second test

Third test

Use of talco powder

No

Yes

Yes

Use of vaseline on the mould

No

No

No

Dampness of clay Proportion of clay-sand-gravel

6-1-1

5-1-1

1478 g

1502

5 - 1.5 - 1.5

Time for partial drying Accuracy Hardness Divergence from the model Weight

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1527 g

Fourth test

Component A

First test

Second test

Yes

Yes

Yes

Yes

No

Yes

5 - 1.5 - 1.5

5 - 1.5 - 1.5

5 - 1.5 - 1.5

1728 g

1668 g

1764 g

AD RC6 Material Consequences | UCL 103

4.2 COMPARATION

3D printing & Slip casting & Compression SINGLE COMPONENTS BEFORE FIRING Component A 3D PRINTING

Drying time Bending Shrinkage Accuracy Strenght Weight

104

SLIP-CASTING

COMPRESSION

Component B 3D PRINTING

SLIP-CASTING

COMPRESSION

Drying time Bending Shrinkage Accuracy Strenght Weight

AD RC6 Material Consequences | UCL 105

4.2 COMPARATION

3D printing & Slip casting & Compression

THE MODULE AFTER FIRING

3D PRINTING

Accuracy of connections Accuracy of boundaries Stability Divergence from the model

106

SLIP-CASTING

Accuracy of connections Accuracy of boundaries Stability Divergence from the model

AD RC6 Material Consequences | UCL 107

4.3 CONNECTION

Glue test without bars

Glue

Designed system

Brick

Materials Standard bricks

Processes

Drying time

1. Spread the glue on the matching surfaces of the two bricks

No more nails glue 2. Overlap the two stardard bricks and leave the glue to dry

24/48 hours

Accuracy Strenght

Combining the two bricks with glue

108

Mortar test without bars

Mortar

Designed system

Brick

Materials Standard bricks

Processes

Drying time

1. Make mortar by mixing cement, sand and water

Normal mortar 2. Spread the mortar onto the matching surfaces of the two bricks

3. Overlap the two stardard bricks and leave mortar to set

24/48 hours

Accuracy Strenght

Mixing mortar and combining the two bricks with it

AD RC6 Material Consequences | UCL 109

4.3 CONNECTION

Glue test with bars

Glue

Designed system Rod

Brick

Materials Standard bricks

Processes

Drying time

1. Drill a hole into the two bricks

Rods, washers and nuts 2. Cut the rods and screw on it a washer and two nuts

No more nails glue

3. Squeeze the glue 4. Overlap the two into the holes, place stardard bricks and the rod and spread the leave them to dry glue on the surfaces

24/48 hours

Accuracy Strenght

Make hole and combine the two bricks with metal bar and glue

110

Mortar test with bars

Mortar

Designed system Rod

Brick

Materials Standard bricks

Processes

Drying time

1. Drill a hole into the two bricks

Rods, washers and nuts 2. Cut the rods and screw on it a washer and two nuts

3. Make mortar by mixing cement, sand and water

Normal mortar 4. Spread the mortar onto the matching surfaces of the two bricks

5. Overlap the two stardard bricks and leave mortar to set

24/48 hours

Accuracy Strenght

Cut the mateal bar and combine the two bricks with it and mortar

AD RC6 Material Consequences | UCL 111

After comprehending the features of the components made by each technique and their real feasibility about time, costs, accuracy, weight etc. we want to go further with the computational research in order to control and optimize the whole system, in terms of structural behaviour and the pattern of porosity.

112

5. PARAMETRIC OPTIMIZATION OF POROSITY AND STRUCTURAL STABILITY 5.1 Rigid block force simulation 5.2 Porosity and structure 5.3 Structure optimization 5.4 Proposal

AD RC6 Material Consequences | UCL 113

5.1 RIGID BLOCK FORCE SIMULATION Structural analysis

CURL-NOISE PATTERN WITHOUT REINFORCEMENT BARS

Wall generated by marching cube and curl-noise The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

114

Forces simulation The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

AD RC6 Material Consequences | UCL 115

5.1 RIGID BLOCK FORCE SIMULATION Structural analysis

CURL-NOISE PATTERN WITH REINFORCEMENT BARS

Porosity pattern generated by curl-noise with bars for the cantilever The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

116

Forces simulation The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

AD RC6 Material Consequences | UCL 117

5.2 POROSITY AND STRUCTURE

Optimization of porosity: voronoi VORONOI SYSTEM

Boundary

Point cloud

Voronoi cells

T-spline mesh

COMPARATION BETWEEN CURL-NOISE AND VORONOI

Curlnoise generation

118

Voronoi generation

AD RC6 Material Consequences | UCL 119

5.1 RIGID BLOCK FORCE SIMULATION Structural analysis

VORONOI PATTERN WITH REINFORCEMENT BARS

Porosity pattern generated by voronoi with bars for the cantilever The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

120

Forces simulation The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

AD RC6 Material Consequences | UCL 121

5.2 POROSITY AND STRUCTURE

Optimization of porosity: voronoi

The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

122

AD RC6 Material Consequences | UCL 123

5.3 STRUCTURE OPTIMIZATION Grid analysis

STRUCTURAL ANALYSIS IN MILLIPEDE

Basic Square Grid

RICArts, Mosaics - fountains & water features, Pinterest

Forces diagram

The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

124

Rectangular grid

Casa Tabique, TAC Taller de Arquitectura

Forces diagram

The voronoi algorithm allow us to design porosity, defining predetermined pattern of the overall structure accurately follow it by contolling their external vertices.

AD RC6 Material Consequences | UCL 125

5.3 STRUCTURE OPTIMIZATION

Finite Element Method Analysis in Millipede

TARGET GEOMETRY

TARGET LINES

STRESSED PART

FEM RESULT

More stressed

126

Less stressed

PICK THE MOST EFFICIENT GEOMETRY

The configuration of the wall with its porosity pattern is determined by the different placement of the modules. This collocation is decided and optimised by the parametric control of millipede which choose the most appropriate of the 6 rotations of the module, according to the distribution of the forces and the most stressed areas.

AD RC6 Material Consequences | UCL 127

5.3 STRUCTURE OPTIMIZATION Structure Analysis: Karamba

Compressive stress

RTension

RRandom pattern of the brick

128

Compressive stress

RTension

tRThe pattern after optimization

AD RC6 Material Consequences | UCL 129

5.4 PROPOSAL

Our proposal is developing the language of porosity under parametric control by using parametres related to structure, light , environment.etc. Through the material research, we could understand the potential of each technique and find a solution to conbine them in our system.

130

AD RC6 Material Consequences | UCL 131

5.4 PROPOSAL

Software for parametric modelling, such as Grasshopper, allow us to design and control any kind of variations, transition and disquiet by using points or lines working as attractors.

It is also possible to design the flow of the entire wall or architectural facade by using plugin such as Anemone and Kangaroo and create within it both punctual and complex variations.

132

AD RC6 Material Consequences | UCL 133

5.4 PROPOSAL

134

AD RC6 Material Consequences | UCL 135

5.4 PROPOSAL

136

AD RC6 Material Consequences | UCL 137

Ceramic glaze is an impervious layer or coating of a vitreous substance which has been fused to a ceramic body through firing. Glaze can serve to color, decorate or waterproof an item. We tried some techniques to glaze our 3d-printed, slipcast and compressed components, and we integrated a proposal for the glazed components with a further development of our design language: graded porosity. Finally, we studied ways to characterize and animate the external surfaces of our bricks.

138

6. GLAZE TEST AND DESIGN DEVELOPMENT 6.1 Glaze test 6.2 Design development 6.3 Glaze proposal 6.4 Language applications 6.5 Texture design

AD RC6 Material Consequences | UCL 139

6.1 GLAZE TEST

Glaze Procedures

One of the most traditional and characteristic processes of clay is glazing. This is a particular process which gives clay objects, already fired, a vitreous and colorful coat that makes the clay totally non porous.

We carried out different glaze tests, in order to understand the behaviour of the material after the glazing procedure and the new firing, in terms of absorbancy of the colour and the final hardness and resistence of the clay body.

The procedure of glazing

140

1.Mix different glazing

2. Filter the glazing

3. Painting the bricks

4. Wait after drying

AD RC6 Material Consequences | UCL 141

6.1 GLAZE TEST After Firing

EB16-Mid Blue

Coral Pink

EB12-Blue Gray

EB17-Gray

Time for firing

1 hour

3 hours

3 hours

3 hours

Propotion

Pre-determined

3% Coral Pink

Colour

142

Pre-determined

Pre-determined

AD RC6 Material Consequences | UCL 143

6.1 GLAZE TEST After Firing

SLIP CASTING COMPONENT Eveness of the glaze Shrinkdge

144

3D PRINTING COM Eveness of the glaze Shrinkdge

MPONENT

COMPRESSION COMPONENT Eveness of the glaze Shrinkdge

AD RC6 Material Consequences | UCL 145

6.2 DESIGN DEVELOPMENT

Graded porosity: cross-scale components

The study in millipide of the behaviour of the basic square grid shows the weakness of it in the cantilever areas, where the components will fall down without the support of reinforcement bars.

146

AD RC6 Material Consequences | UCL 147

6.3 GLAZE PROPOSAL The cross-scale design research shows how it is possible to change the dimension of the modules and so the components. In the render beside it is clear how the size of the small modules is reduced proportionally. In fact, it represents 1/4 of the original size of the module.

Since the parts of the wall that surround the openings are not particularly stressed the could easily be replaced with smaller modules in order to create variations and different interest in the overal design.

148

AD RC6 Material Consequences | UCL 149

2.4 LANGUAGE 2.3 6.4 ARCHITECTURE GLAZE PROPOSAL APPLICATIONS APPLICATION Cross-scale components

150

AD RC6 Material Consequences | UCL 151

6.5 TEXTURE DESIGN

152

AD RC6 Material Consequences | UCL 153

6.5 TEXTURE DESIGN

Design of different textures

154

AD RC6 Material Consequences | UCL 155

In order to make the wall feasible in the real architectural context, we analysed and tried to offer solutions to different issues deriving from the assembly logic, the stability of the joints and the variability of the components based on various factors, such as rotation, pattern and joints themselves.

156

7. PRELIMINARY FABRICATION STUDIES 7.1 Module optimization 7.2 Joints research 7.3 Frame design for assembly 7.4 Multiple variations of one component 7.5 The smart mould

AD RC6 Material Consequences | UCL 157

7.1 MODULE OPTIMIZATION

The weakness of the 4 components-module

COMPONENT A

COMPONENT B

158

4 COMPONENTS MODULE

EXAMPLES OF COMBINATIONS

AD RC6 Material Consequences | UCL 159

7.1 MODULE OPTIMIZATION The new module

1 COMPONENT MODULE

PATTERN VARIATIONS

160

EXAMPLES OF COMBINATIONS

AD RC6 Material Consequences | UCL 161

7.2 JOINTS RESEARCH Wooden pegs

In order to make the connections between the bricks stronger we decided to study and introduce an interlocking system, possibly made of wooden pegs, which would help both to stick the bricks together and to align them more accurately.

162

INTERLOCKING SYSTEM

Wooden pegs into the bricks in order to guarantee stronger and accurate connections

AD RC6 Material Consequences | UCL 163

7.2 JOINTS RESEARCH

Constraints on assembly

DIRECTION OF ASSEMBLY WOODEN PEG BLOCKING ASSEMBLY

164

AD RC6 Material Consequences | UCL 165

7.2 JOINTS RESEARCH Proposal

Due to the costraints on assembly analised before, we had to design a different interlocking system which would let each brick slide on the one on its side and fix it on the brick underneath. For this reason, we designed two different types of joints: A for the sliding system and B for the fixed system.

166

JOINT A Sliding system

JOINT B Fixed system

AD RC6 Material Consequences | UCL 167

7.2 JOINTS RESEARCH

The initial solutions Wooden pegs

JOINT A: Sliding system 6 mm

Metal sliding system

Bricks

50 mm 25 mm

Sliding system Wooden peg 106 mm

Wooden peg divided into two halves to fit into the bricks’ holes in order to allow a metal sliding joint, fixed on them through screws.

JOINT B: Fixed system 6 mm 50 mm 25 mm

Wooden peg

Fixed wooden peg 106 mm

168

Bricks

JOINT A: Nylon nut and bolt system Bolt

5 mm

Nylon nut Nylon washer

Bricks

50 mm 18 mm 10 mm

Washer and nut

Nylon bolt

105 mm

Joint realised with nylon bolt and nut sytem.

JOINT B: Nylon nut and bolt system 5 mm

Bricks

Nylon bolt

Washer and nut

18 mm 10 mm

50 mm

Bolt

Joint realised with nylon bolt and nut sytem.

105 mm

Nylon washer Nylon nut

AD RC6 Material Consequences | UCL 169

7.2 JOINTS RESEARCH Solution 3

JOINT A: Sliding system

50 mm 20 mm

5 mm

20 mm 50 mm

50 mm 20 mm

JOINT B: Fixed sy

170

35 mm

Bricks Wooden peg Fixed wooden peg

ystem 5 mm

Bricks Wooden peg

Fixed wooden peg

50 mm

AD RC6 Material Consequences | UCL 171

7.3 FRAME DESIGN FOR ASSEMBLY

Clay components and metal frame

Components quantity Components module

105

Base module

10

Total

115

320 cm

200 cm

172

AD RC6 Material Consequences | UCL 173

7.3 FRAME DESIGN FOR ASSEMBLY

Components quantity

Clay components and metal frame

Components module Base module Total

105 10 115

320 cm

200 cm

174

AD RC6 Material Consequences | UCL 175

7.3 FRAME DESIGN FOR ASSEMBLY

The connection between the joints and the metal frame

Solution 1: Sliding metal system with wooden pegs

176

Solution 2: Nylon bolts and nuts

Steel T-profiles connected to wooden pegs or the nylon joints

AD RC6 Material Consequences | UCL 177

7.4 MULTIPLE VARIATIONS OF ONE COMPONENT

DIFFERENT ROTATIONS

DIFFERENT PATTERNS

DIFFERENT HOLES FOR THE JOINTS

178

AD RC6 Material Consequences | UCL 179

7.4 MULTIPLE VARIATIONS OF ONE COMPONENT

The implications of the variations in a prototype wall

In order to understand and plan accurately the fabrication process, we designed and analised a wall as a prototype for our design proposal. From this type of analysis we could understand exactly how many bricks we need to fabricate and the differences and peculiarities of all bricks. We figured out the exact number of bricks we need to produce for each geometry and all variations we need to apply to the bricks depending on their rotation and on the position of the holes for the joints.

NUMBER OF BRICKS

180

BRICKS MODULE

106

BASE MODULE

10

TOTAL

115

NUMBER OF VARIATIONS

51

AD RC6 Material Consequences | UCL 181

7.5 THE SMART MOULD

Since the variability of the bricks is substantial because of the 6 different rotations of the bricks in the wall and the different positions and shapes of the holes for the joints, we would need to produce over 60 different moulds. Instead, we designed a smart mould system which consists in an unchangeable internal part and changeable and flexible external pieces. The external pieces of the mould are the ones which allow us to create the holes in the bricks or to apply on the external surfaces pattern. Through the smart mould system it is possible to have infinite different combinations of the smart pieces in order to produce all the variable bricks we have in the wall. Therefore, with a smart modular system we can still guarantee the unicity of our components.

TOT. PLASTER PIECES

21

TOT. INSIDE PIECES

15

TOT. SMART PIECES

6

Inside fixed pieces

Brick

External smart pieces

182

SMART PIECES FOR Y SHAPE

SMART PIECES FOR I SHAPE

SMART PIECES FOR T SHAPE AD RC6 Material Consequences | UCL 183

Based on the analyses and the solutions we designed to respond to technical issues, we carried out the new stage of the material research, characterised by the usage of new types of mould, and different fabrication procedures.

184

8. MATERIAL RESEARCH DEVELOPMENT 8.1 Fabrication procedures 8.2 Keys study for the mould 8.3 The mould of the mould 8.4 Plaster mould inside pieces 8.5 From high density foam to silicone 8.6 Comparation between the previous production system and the new one

AD RC6 Material Consequences | UCL 185

8.1 FABRICATION PROCEDURES

CNC

INTERLOCKING KEY TEST

1 WEEK

3DAYS

3DAYS

ONE WEEK

FIRING

186

DRYING

MOULD MAKING (SILICONE)

MOULD MAKING (PLASTER)

3DAYS

3DAYS

3 DAYS

10 DAYS/2 WEEKS

SLIP CASTING

MOULD DRYING

AD RC6 Material Consequences | UCL 187

8.2 KEYS STUDY FOR THE MOULD The high density foam keys

Key type 1. X

Key type 2. X

Key type 6. X

Key type 3. X

Key type 7.

Key type 4.

188

Key type 5. X

Key type 8.

Key type 9.

Slide key type 1.

Slide key type 2.

45°key type 1. X

45°key type 4. X

45°key type 2. X

45°key type 5.

45°key type 3. X

45°key type 6.

AD RC6 Material Consequences | UCL 189

8.2 KEYS STUDY FOR THE MOULD The plaster keys

190

Key type 4.

Key type 8.

Key type 7.

Key type 9.

Slide key type 1.

Slide key type 2.

45°key type 5.

45°key type 6.

AD RC6 Material Consequences | UCL 191

8.3 THE MOULD OF THE MOULD

The smart mould system for the high density foam moulds of the plaster mould

Each plaster pieces of the smart mould is fabricated by pouring liquid plaster into a negative mould made of high density foam, in order to guarantee accuracy. For this reason we had to design a new negative mould for each component of the plaster mould. But, since the high number of pieces constituting the plaster mould we needed to optimise the the fabrication and usage of the high density foam moulds. In fact, we studied a system that allowed us to use the same high density foam mould to produce at least two simmetrical plaster pieces. Concerning the smart plaster pieces we designed only one high density foam mould to realise all the variations of the smart pieces simply changing only one piece of the high density foam mould.

TOT. PLASTER PIECES

21

TOT. HDF MOULDS

10

MOULD A

MOULD D

MOULD H

192

MOULD B1

MOULD E

MOULD B2

MOULD F

MOULD C

MOULD G

High density foam mould Plaster mould

Plaster mould

MOULD I

MOULD J

AD RC6 Material Consequences | UCL 193

8.4 PLASTER MOULD INSIDE PIECES

All high density foam moulds to fabricate the plaster mould

Since we divided the mould into internal pieces and smart pieces(outside pieces), all the internal pieces are made by the high density foam. The procedure is to CNC the high density mould first, then cast plaster inside to get the plaster pieces.

MOULD J

MOULD E

194

MOULD F

MOULD I

MOULD G

MOULD H

MOULD A

AD RC6 Material Consequences | UCL 195

8.4 PLASTER MOULD PIECES

The fabrication process of each plaster piece from the high density foam mould

MOULD H

196

PLASTER PIECE H CASTING PROCEDURE

AD RC6 Material Consequences | UCL 197

8.4 PLASTER MOULD PIECES

Samples of pieces of the plaster moulds

198

AD RC6 Material Consequences | UCL 199

8.5 FROM HIGH DENSITY FOAM TO SILICONE

The fabrication process of silicone moulds for the components with holes

HIGH DENSITY FOAM

Costraints on casting plaster in high density foam

FLEXIBILITY

200

SILICONE

Flexibility of casting plaster in silicone moulds

FLEXIBILITY

AD RC6 Material Consequences | UCL 201

8.5 FROM HIGH DENSITY FOAM TO SILICONE

The processes of casting plaster in high density foam and silicone STEP 1

Step 1. Use high density foam to cast silicone

High density foam

202

Silicone

STEP 2

Step 2. use high density foam to cast plaster pieces

Silicone

Plaster mould

AD RC6 Material Consequences | UCL 203

8.5 FROM HIGH DENSITY FOAM TO SILICONE

The negative in silicone and the positive in plaster

Silicone moulds

204

Plaster pieces

Silicone moulds

Plaster pieces

AD RC6 Material Consequences | UCL 205

8.6 COMPARATION BETWEEN THE PREVIOUS PRODUCTION SYSTEM AND THE NEW ONE The advantages of the smart mould system compared to the previous one

Previous mould: HANDCRAFT AND SINGULAR OUTCOME

206

New mould: AUTOMATED AND MASS PRODUCTION

AD RC6 Material Consequences | UCL 207

After the new material tests and the results achieved with the new moulds and new fabrication techniques, we tried to gain mass production of our clay components. In order to do that, we developed different strategies, such as the smart mould, which could allow us to guarantee the fabrication of many components in a short period of time and to control the correctness of all pieces.

208

9. MASS PRODUCTION

9.1 Smart pieces 9.2 Mass production strategies 9.3 Fabrication procedures 9.4 Strategies for assembly

AD RC6 Material Consequences | UCL 209

9.1 SMART PIECES

The smart mould is based on the concept of dividing the plaster mould in inner pieces, which never change, annd outside pieces, the smart pieces, which allow us to characterize differently the external surfaces of the components.

In fact, depending on the roations, the joints and the pattern, each component is different and unique, and simply by interchanging the external smart pieces it is possible to guarantee mass production and, at the same time unicity, without fabricating more than 50 different moulds, usable only once.

Smart pieces for the Y shape

6

Smart pieces for the I shape

13

Smart pieces for the T shape

7

C1 - C2

B1

C3

B2

B3

B

C D B

B

D

C

210

D1

D6

D2

D7

B4

7

C5

C4

B5

B6

B7

D3

B8

B9

C6

B10

B11

B12

B13

D5

D8-9 AD RC6 Material Consequences | UCL 211

9.1 SMART PIECES

Some samples of the plaster smart pieces

D1

212

D8

D1

D7

D6

D2

D3

B10

B3

B8

B4

C6

C1

C4

C3

B5

B6

B9

B7

AD RC6 Material Consequences | UCL 213

9.2 MASS PRODUCTION STRATEGIES Analysis of all variations in the wall TYPE OF ROTATION face 1

face 2

front face

COMBINATION OF SMART PIECES

FRONT PIECE

NUMBER OF SIMILAR COMPONENTS

a

D1 - B1 - D6 - B4

C1

2

D1 - B5 - D6 - B4

C1

1

c

D7 - B1 - D6 - B3

C1

6

.....

.................

.......

......

.....

.................

.......

......

i

D1 - B1 - D6 - B8

C1

1

b A

face 4

TYPE OF COMBINATION OF SMART PIECES

face 3

1 - 2 - 3 - 4

26

a

D6 - B4 - D6 - B9

C2

1

D6 - B10 - D1 - B2

C1

2

c

D6 - B10 - D6 - B2

C2

4

.....

.................

.......

......

.....

.................

.......

......

i

D6 - B4 - D1 - B2

C1

2

b B

19

a

B1 - D6 - B13 - D7

C1

1

B1 - D6 - B11 - D3

C2

2

c

B5 - D1 - B10 - D3

C1

2

.....

.................

.......

......

.....

.................

.......

......

h

B1 - D7 - B10 - D3

C1

1

b C

11

a

b D

c

d e f

B10 - D6 - B1 - D2

C1

4

B10 - D6 - B1 - D1

C2

2

B11 - D6 - B7 - D2

C1

1

B11 - D6 - B1 - D2

C1

1

B10 - D6 - B1 - D7

C1

1

B4 - D1 - B1 - D2

C1

1 10

214

TYPE OF ROTATION

TYPE OF COMBINATION OF SMART PIECES

COMBINATION OF SMART PIECES

FRONT PIECE

NUMBER OF SIMILAR COMPONENTS

a

C2 - D6 - C4 - D1

B7-1

1

C4 - D6 - C4 - D1

B7-3

2

C4 - D6 - C4 - D5

B7-2

6

C4 - D6 - C2 - D5

B7-1

1

C2 - D6 - C4 - D5

B7-2

1

C4 - D1 - C2 - D5

B7-1

1

b E

c

d e f

1 - 2 - 3 - 4

12

a

F

b c

D6 - C2 - D6 - C3

B7-1

1

D6 - C4 - D6 - C3

B7-2

9

D6 - C2 - D1 - C3

B7-1

3 13

G

a

b

C5 - B10 - C5 - B6

D9

2

C5 - B4 - C5 - B6

D8

1 3

H

a

b c

C6 - B1 - C5 - B4

D8

2

C6 - B1 - C5 - B12

D8

2

C5 - B1 - C5 - B12

D9

2 6

I

a

b

B10 - C5 - B7 - C5

D9

1

B10 - C5 - B6 - C5

D9

3 4

J

a

b

B5 - C5 - B12 - C5

D9

1

B1 - C5 - B12 - C5

D8

1 2

AD RC6 Material Consequences | UCL 215

9.2 MASS PRODUCTION STRATEGIES

Strategy for mass production with 5 moulds working at the same time

MOULD 2

MOULD 1

Rotation Type of combination

Num. A, B, C, D A-d A-a A-f A-h B-d C-b C-e A-b A-e A-i B-a B-f

Total number to fabricate Side smart pieces Front smart pieces

216

MOULD 3 Num.

A, B, C, D 9 2 1 2 5 2 2 1 1 1 1 1

A-c A-g B-g B-h C-a C-d C-f C-g C-h D-c D-d D-e D-f

28

MOULD 4 Num.

A, B, C, D 6 3 1 1 1 1 1 1 1 1 1 1 1

B-c D-a D-b B-b B-e B-i C-c

20

E, F 4 4 2 2 2 2 2

F-b E-c F-c E-a E-b E-d E-e E-f F-a

18

D1, D3, D6 B1, B2, B3, B4, B5, B7, B8, B9, B10, B11

D1, D2, D3, D6, D7 B1, B2, B3, B4, B7, B9, B10, B11

D1, D2, D3, D6, B1, B2, B4, B5, B10

D1, D5, D6, C2, C3, C4

C1 - C2

C1 - C2

C1 - C2

B4 - B7

MOULD 5 Num.

Num. G, H, I, J

9 6 3 1 2 1 1 1 1

G-a I-b I-a H-c J-b H-b H-a G-b J-a

25

2 3 1 2 1 2 2 1 1

15 B1, B4, B5, B6, B7, B10, B12, C5, C6 D8 - D9

AD RC6 Material Consequences | UCL 217

9.3 FABRICATION PROCEDURES Mould-assembly

During the assembly process, we place the plaster mould pieces in order, each of them will be locked by the special keys.

When all the pieces are set in position, the empty space in the mould will be the same as the component.

The procedure of glazing

218

1.Mix different glazing

2. Filter the glazing

3. Painting the bricks

AD RC6 Material Consequences | UCL 219

9.3 FABRICATION PROCEDURES Mould-disassembling

After slip casting, we leave 5 hours for the plaster mould to absorb water from the slip. Then we disassemble the mould in order. The shape of the component is designed to be the nrgative of the mould.

The procedure of glazing

220

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9.3 FABRICATION PROCEDURES

5 moulds working at the same time

222

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9.3 FABRICATION PROCEDURES Drying and firing

224

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9.4 STRATEGIES FOR ASSEMBLY

Organization of assembly of unique components

Because of the unicity of each component, depending on the different rotations, patterns and joints and also on the type of “neighbour� component, we needed to guarantee an efficient strategy for the assembly, to collocate each component exactly in their position. For this reason, we assigned a specific number to each component in the design of the wall and marked each physical component with the corresponding number.

226

NUMBER IN THE WALL

ROTATION

COMBINATION

1

H

C6 - B1 - C5 - B4

D8

.....

.....

..................

......

2

A

D1 - B1 - D6 - B4

C1

.....

.....

..................

......

3

A

D1 - B5 - D6 - B4

C1

46

D

B10 - D6 - B1 - D2

C2

4

E

C2 - D6 - C4 - D1

B7-1

47

A

D7 - B1 - D6 - B3

C2

5

A

D1 - B1 - D6 - B4

C1

48

A

D6 - B1 - D7 - B3

C2

6

H

C6 - B1 - C5 - B4

D8

49

E

C4 - D6 - C4 - D5

B7-1

7

A

D7 - B1 - D6 - B3

C2

50

D

B11 - D6 - B7 - D2

C1

8

A

D6 - B1 - D6 - B3

C2

51

G

C5 - B4 - C5 - B6

D8

9

J

B5 - C5 - B12 - C5

D9

52

B

D6 - B10 - D6 - B7

C1

10

D

B10 - D6 - B1 - D2

C1

53

B

D1 - B10 - D6 - B2

C2

11

A

D6 - B5 - D6 - B3

C2

54

A

D6 - B1 - D6 - B3

C1

12

A

D7 - B1 - D6 - B3

C1

55

C

B1 - D6 - B10 - D3

C2

13

A

D6 - B7 - D6 - B3

C1

56

C

B7 - D6 - B10 - D3

C1

14

I

B10 - C5 - B7 - C5

D9

57

D

B10 - D6 - B1 - D1

C2

15

A

D6 - B1 - D6 - B3

C2

58

G

C5 - B10 - C5 - B6

D9

16

B

D6 - B4 - D6 - B9

C2

59

E

C4 - D6 - C4 - D5

B7-3

17

B

D6 - B10 - D1 - B2

C1

60

E

C4 - D6 - C4 - D1

B7-2

18

B

D1 - B10 - D6 - B2

C1

61

C

B7 - D6 - B10 - D3

C1

19

.....

.................

......

.....

.....

..................

......

20

.....

.................

......

.....

.....

..................

......

1 - 2 - 3 - 4

FRONT PIECE

NUMBER IN THE WALL

ROTATION

COMBINATION 1 - 2 - 3 - 4

FRONT PIECE

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9.4 STRATEGIES FOR ASSEMBLY

Samples of unique components with their distinctive number

228

88

21

60

33

32

35

44

27

48

30

34

4

44

68

81

67

63

58

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230

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The design of the proposal for the B-Pro Show consists in a 3d wall made of 106 clay components which, rotating and varying all the time, give dinamicity and a fascinating porosity configuration.

232

10. B-PRO SHOW PROPOSAL 10.1 Proposal 10.2 Strategy for installation 10.3 Compression tests 10.4 Assembly

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10.1 PROPOSAL

234

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10.2 STRATEGY FOR INSTALLATION

Analysis of the wall and the supporting structure

In order to guarantee stability and safety during the exhibition of B-Pro show we designed a structure, made of wood, at the base, and metal as further support behind and for the two sides of the wall. The wooden base at the bottom, made of 10 triangular units, is meaningful for the stability of the wall because of the 45 degrees grid that the position of the compontents follows. The metal structure behind is connected to the wooden base and through pegs placed in the components avoid that the wall bends forward.

N. Slip-cast components 106

Dimensions mm 2140x3200x225

Wooden base

1

1100x3270x300

Metal frame

1

2150x2820x45

Metal frame

Slip-cast components

Wooden pegs and metal rods

Wooden triangular base

236

DETAIL OF THE WOODEN PEG PLACED IN THE CLAY COMPONENTS, WITH THE METAL ROD FIXED IN IT

DETAIL OF THE JOINT BETWEEN THE RODS AND THE METAL FRAME

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10.3 COMPRESSION TESTS ROTATION 1

300 kg

NO CRASH TEST MAX.AVAI.LOAD

kg

200

FAILURE THRESHO.

kg

1.05

FAILURE DETECTION

%

5

FAILURE THRESHO.

kg

300

FAILURE DETECTION

%

500

200

0

500 s

1100 kg

CRASH TEST MAX.AVAI.LOAD

kg

437

FAILURE THRESHO.

kg

1.05

FAILURE DETECTION

%

15

FAILURE THRESHO.

kg

1100

FAILURE DETECTION

%

1100

437.34

0

1100 s MAXIMUM 437.34 KG

238

COMPRESSION TEST A Conclusion: The maximum load which can beapplied to the T-profile is 437.34 kg, So the component fulfill the performance of structural slip.

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10.3 COMPRESSION TESTS ROTATION 2

NO CRASH TEST

400 kg

MAX.AVAI.LOAD

kg

200

FAILURE THRESHO.

kg

1.05

FAILURE DETECTION

%

15

FAILURE THRESHO.

kg

400

FAILURE DETECTION

%

500

200

0

500 s

400 kg

CRASH TEST MAX.AVAI.LOAD

kg

231.89

FAILURE THRESHO.

kg

1.05

FAILURE DETECTION

%

15

FAILURE THRESHO.

kg

400

FAILURE DETECTION

%

500

231.89

0

500 s

MAXIMUM 231.89 KG

240

COMPRESSION TEST B Conclusion: The maximum load which can beapplied to the I-profile is 231.89 kg, So the component fulfill the performance of structural slip.

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10.4 ASSEMBLY

Assembly of the joints

The test of connection between wooden peg and metal frame

242

The test of the metal frame

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10.4 ASSEMBLY

Preparation of the wooden base

CNC the triangular wooden boards

244

CNC the triangular wooden boards

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In order to test the assembly procedures of the entire wall (designed for the B-Pro Show) we assembled a smaller prototype, understanding better how the components work in relation to each other and how the whole physical object interact with the surrounding environment.

246

11. PHYSICAL PROTOTYPE

11.1 Installation 11.2 Interaction with environment

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11.1 INSTALLATION

1

248

Main step of the assembling process is the placement of the wooden pegs inside the holes of the clay components, prearranged already at the fabrication stage. The wooden pegs proved to fit perfectly the holes and to interlock the components efficiently. The components matches well with the wooden pegs. The bricks are proved to be accurate enough for construction.

2

MOULD ASSEMBLY 1. The components are interlocked with each other 2&3. The detail and assembly of wooden peg connections.

3

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11.1 INSTALLATION

We started to assemble the components follow the diamond grid, lay bricks on the base and then place the wooden pegs in the joints. The pegs are used to lock the components in the next layer and prevents the components from moving.

250

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11.2 INTERACTION WITH ENVIRONMENT

252

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11.2 INTERACTION WITH ENVIRONMENT The photo aside shows a fascinating relation and perfect harmony between subjects represented: a traditional clay facade, an innovative and structural clay wall and nature. They are all natural elements which can inherently generate a dialogue between each other, emphasing the greater equilibrium characterising all natural systems.

Furthermore, the picture suggests an interesting comparison between the old and the new, the tradition and the innovation. The common clay cladding of the building in the background and the innovative clay architectural language offered by the installation in foreground together communicate an important message. Clay is the oldest natural architectural material which have provided efficient technological solutions throughout the centuries but, still, can be further developed showing its potential for cutting-edge architectural languages.

254

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11.2 INTERACTION WITH ENVIRONMENT

The two pictures show and emphisize the main characteristic of the designed architectural language: porosity. The sunlight flowing through the porous components creates variable dynamic effects of light and shade projected on the surrounding elements and on the components themselves.

256

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11.2 INTERACTION WITH ENVIRONMENT

The relationship of the clay wall with the human presence and the effect of the sunlight coming through it and projecting on the floor.

258

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11.2 INTERACTION WITH ENVIRONMENT

A comparison between a night view with artificial light illuminating the clay wall and emphasizing the geometry and the porous components themselves and a day view, where the sunlight flows through the clay components and project variable effect of light and shade on the surrounding materials.

260

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In the final proposal we want to profit by all the previous studies and considerations. Thus, according to the material tests, we show possible feasible architectural applications of our design proposal together with the analysis of how we control the privacy, temperature, wind circulation by our generative porosity language.

262

12. FINAL PROPOSAL

12.1 The optimization of porosity 12.2 The solid brick 12.2.1. The effects on the inside microclimate 12.2.2. Architectural proposal

12.3 The hollow brick 12.3.1. The effects on shading 12.3.2. The supporting metal frame 12.3.3. Architectural proposal

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12.1 THE OPTIMIZATION OF THE POROSITY

privacy

264

public

privacy

public

privacy

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12.1 THE OPTIMIZATION OF THE POROSITY

266

Shading system and privacy We can control the privacy of the interior space by controlling the size of the holes on the porous wall. The wall act like a filter to make the interior space comfortable with mild temperature.

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In the final proposal we want to profit by all the previous studies and considerations. Thus, according to the material tests, Finally we show possible duable architectural applications of our design proposal together with the analysis of how we control the privacy, temperature, wind circulation by our generative porosity language.

268

12.2 THE SOLID BRICK

12.2.1. The effects on the inside microclimate 12.2.2. Architectural proposal

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12.2 ARCHITECTURAL PROPOSAL

270

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12.2.1. THE EFFECTS ON THE INSIDE MICROCLIMATE Windflow and temperature Velocity(m/s) 3.167 2.742 2.239 1.583 0

Normal wall

272

Normal wall with windows

Porous wall with modular components

Porous wall with cross-scale components

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12.2.1. THE EFFECTS ON THE INSIDE MICROCLIMATE Windflow and temperature Velocity(m/s) [ Pressure(Pa)] 19.599[ 103.413] 16.973[ 48.311] 13.859[ -6.791] 9.800[ -61.894] 0[ -116.996]

Normal wall

274

Normal wall with windows

Porous wall with modular components

Porous wall with cross-scale components AD RC6 Material Consequences | UCL 275

12.2.2. ARCHITECTURAL PROPOSAL

276

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12.2.2. ARCHITECTURAL PROPOSAL

278

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12.2.2. ARCHITECTURAL PROPOSAL

280

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In the final proposal we want to profit by all the previous studies and considerations. Thus, according to the material tests, Finally we show possible duable architectural applications of our design proposal together with the analysis of how we control the privacy, temperature, wind circulation by our generative porosity language.

282

12.3 THE HOLLOW BRICK 12.3.1. The effects on shading 12.3.2. The future application of slip-casting 12.3.3. Architectural proposal

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12.3 THE HOLLOW BRICK

284

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12.3.1 THE EFFECTS ON SHADING Radiation analysis kWh/m2

Radiation Analysis

193.49<

174.14

154.79 135.44 116.09 96.74 77.39 58.05 38.70 19.35

<0.00

Normal wall 286

Normal wall with windows

Porous wall with modular components

Porous wall with cross-scale components

AD RC6 Material Consequences | UCL 287

12.3.2. THE FUTURE APPLICATION OF SLIP CASTING The future application of slip casting components

Holburne Museum(Darwen terracotta)

288

Timber skyscraper(Researchers from Camb

bridge Universityâ&#x20AC;&#x2122;s Department of Architecture)

Central St. Giles London(Renzo Piano architect)

AD RC6 Material Consequences | UCL 289

12.3.3. ARCHITECTURAL PROPOSAL The sustainable skyscraper

290

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12.3.3. ARCHITECTURAL PROPOSAL The supporting metal frame

320 cm

200 cm

ASSEMBLY OF THE COMPONENTS

292

LAN

NGUAGE APPLICATION OF THE ARCHITECTURE SCREEN

CONNECTION WITH WOODEN PEGS

T PROFILE METAL FRAME

DETAIL DESIGN OF FRAME AND JOINTS

AD RC6 Material Consequences | UCL 293

12.3.3. ARCHITECTURAL PROPOSAL

294

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CONCLUSION AND FUTURE OUTLOOK The architectural research endeavoured to respond to those requirements with a sensible and realistic proposal. Learning from nature, the design investigation borrowed one of the most common and primordial characteristics, porosity, transposing it onto the architectural field This proposal is not meant to be the answer, the final solution and the end. It represents only the initial point of a new highly potential field of exploration. Unquestionably, many aspects should be further developed and optimised. However, starting from the knowledge and awareness acquired through this research, invaluable and crucial innovative solutions could be achieved.

296

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