TECTONIC SYSTEMS
Amy Nuccio
CONTENTS
04 | PRECEDENTS Louvre Abu Dhabi ICD/ITKE Research Pavilion Vanke Future Town Pavilion 12 | TECTONIC SYSTEMS Prototype 1: Woven Prototype 2: Woven 20 | DIGITAL SKETCH BOOK Mapped Geometries Linear Structures Textured Surfaces 30 | INSTALLATION Concept Ideation 40 | TRIANGULAR GEOMETRIES Digital Modelling Physical Modelling Reflection
50 | PROJECT 38.8 PART 1 Tessellation Rules Prototype 1: Laser Cutting Digital Modelling Prototype 2: 3D Printing Form Exploration Form Refinement Prototype 3: 3D Printing Renders Construction Methods Reflection 84 | PROJECT 38.8 PART 2 Locking Mechanism Variable Analysis Standardising Form Unique Pieces Analysis Coding System Form Refinement Final Form Plans, Sections, Elevations Construction Methods Prototype 4: Mould and Casting Prototype 5: Diamond Wire Cutting Prototype 6: 3D Printing Renders Reflection
INTRODUCTION: The following folio explores the use of tectonics within architectural design; in which the constraints of construction have influenced, but not necessarily limited, the design outcome. Throughout this exploration, digital modelling techniques have been used for experimentation as well as analysis.
PRECEDENTS
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LOUVRE ABU DHABI Jean Nouvel, 2017 The dome of the Louvre Abu Dhabi museum is made up of 10,000 structural components which were pre-assembled into 85 elements. These elements create an 8-layered dome; which consists of 4 outer layers, clad in stainless steel and 4 inner layers, clad in aluminium. These internal and external layers are separated by a 5-metre-high steel frame. The dome’s pattern consists of a highly studied geometric design of triangles, which have been repeated in various sizes and angles to create the 8 superimposed layers. This use of tessellation creates a striking design which filters dappled light into the museum below.
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ICD/ITKE RESEARCH PAVILION University of Stuttgart, 2012 The university of Stuttgart’s 2012 research pavilion utilises robotic fabrication to weave carbon and glass fibre composites into a solid structure. The project investigated the interrelation between biomimetic design strategies and robotic production. The structure was successfully constructed with the use of computational design tools to wind the carbon and glass fibres onto a temporary steel frame.
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VANKE FUTURE TOWN PAVILION Continuation Studio, 2017 The Vanke future town pavilion was inspired by the ancient timber arch bridges in Wenzhou, China, which consist of overlapping short timbers to cover a long span. 600x200mm glued laminated timbers of varying lengths make up the structure and are interlocked with steel tubes to create a series of continuous triangles and inverted triangles. The structure was then supported by 8 columns and suspended from the hidden steel beams in the space above.
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TECTONIC SYSTEMS
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WOVEN STRUCTURES: Inspired by the University of Stuttgart’s 2012 Research Pavilion, this initial research explored the use of weaving to create solid structures. Intrigue at the possibility of taking a material with no structural integrity and using it to create a rigid form drove this research.
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Attempt 1 Inconsistent shape due to lack of algorithm.
Attempt 1.2 More intricacy can be created with layering. 16
Attempt 1.1 More consistent shape with ‘algorithm’.
PROTOTYPE 1: This initial prototype explored the intricate patterns which could be produced with simple straight lines on a horizontal plane. 25 nails were nailed to a wooden board in a pentagonal shape, to use as anchor points. Embroidery cotton was then wound around the nails to create these outcomes. It was quickly found through Attempt 1 that an algorithm strategy would need to be implemented in order to create a consistent and symmetrical shape as desired.
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PROTOTYPE 2: This next prototype explored the way a material with no structural integrity, in this case embroidery cotton, could be used to produce a rigid 3-dimensional form with the use of a temporary structure and hardening agent. A simple hollow tube was used to shape the cotton, with the use of nails again as anchor points. This time the cotton was dipped in fibreglass resin before wrapping it around the structure and allowing it to dry. It was found once the structure was removed that the cotton held the shape of the tube but still remained malleable. The excess resin on the cotton also left rough and messy edges. If a more intricate and layered pattern was used, a more solid form may be produced, however the use of a permanent structure may need to be explored.
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Attempt 2 Preparing cylinder to use as temporary structure.
Cotton coated in resin wrapped around
Attachment points now on vertical axis.
Structure removed; 3D form created still malleable and excess resin left rough edges. More layers may result in a more solid form. 19
DIGITAL SKETCH BOOK
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MAPPED GEOMETRIES: These outcomes explored the ability to map different geometries to a surface and control the density of them.
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LINEAR STRUCTURES: Having explored woven structures previously, these outcomes further explored the intricate patterns which can be produced with straight lines.
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TEXTURED SURFACES: Using images to map different geometries in a gradual pattern, allowed these textured outcomes to be produced.
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I N S TA L L AT I O N
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CONCEPT IDEATION: Presented with the opportunity to create an installation piece for a void area on the university’s campus, resulted in the following concepts to be produced. These pieces were intended to be produced with interconnected zip ties. These proposals required more refinement in order to be able to produce them on a reasonable scale and with an achievable amount of zip ties.
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CONCEPT 1: 31,081,056 zip ties
CONCEPT 2: 62,055,936 zip ties
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CONCEPT 3: 40,684,896 zip ties
CONCEPT 4: 95,137,944 zip ties
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CONCEPT 5: 122,690,904 zip ties
CONCEPT 6: 24,482,400 zip ties
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TRIANGULAR GEOMETRIES
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DIGITAL MODELLING TRIANGULAR STRUCTURES: This task explored the ability to produce complex forms solely from triangular panels. After digitally modelling a desirable form, each of the triangular panels were prepared for production on the laser cutter and constructed accordingly.
CONCEPT 1
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CONCEPT 2
CONCEPT 3
FINAL CONCEPT
INTERNAL STRUCTURE
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PHYSICAL MODELLING
Digital file cut on Trotec laser cutter. Took approximately 15-20 minutes per 1200x700mm sheet.
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All 252 panels sorted.
Progress stage one.
Internal structure.
Progress stage two.
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Progress stage three.
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Progress stage four.
Progress stage five.
Progress stage six.
Model faults.
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REFLECTION: The construction stage for this task went relatively smoothly. The laser cutter produced extremely accurate panels in an efficient manner, which allowed for the physical construction to move ahead. It was found that the particularly narrow pieces were more difficult to join, which resulted in holes forming in the structure, which could be minimised by limiting the amount they occur. Having to refer to the digital model also slowed the progress of the structure but was necessary for an accurate outcome. Lastly, the structure itself required counterbalancing to keep upright, as it was too top heavy, this could have been taken more into consideration during the digital stage.
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PROJECT 38.8
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TESSELLATED STRUCTURES: The following major research project explores the way tessellation can be applied to the production of architectural outcomes. It was inspired by Nouvel’s utilisation of tessellation in the Louvre Abu Dhabi, among other projects.
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TESSELLATION RULES: In order to utilise tessellation to create a unique and intricate architectural outcome, the rules for how tessellations are produced must firstly be explored. Here it was found that nearly any geometric shape could be taken; a piece could be removed from one side and then placed on the adjacent side, consecutively, to produce an entirely new shape, which can then be tessellated. With this basic understanding, these rules can be reproduced digitally for further experimentation.
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TESSELLATION RULES: With a firm understanding of the way tessellations could be produced, experimentation could then begin. Here the established tessellation rules were applied to a range of different geometries to produce varying results. Some were found to produce a tight locking pattern, whilst others created negative spaces in which new geometries could be found. Once these tessellations were produced they could then be mapped onto nearly any surface without failing.
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PROTOTYPE 1 58
LASER CUTTING: Having experimented with a few different tessellations digitally, a more tactile approach was taken to assess the way these pieces interconnected. A number of pieces were laser cut for each tessellation on 2mm cardboard and then shuffled along a table to give insight into the most appropriately bonded tessellation. It was decided that Tessellation 1 produced the best results visually, due to its strong geometric relationship and its use of negative space. It was also found to have good bonding characteristics, as it did not separate easily when slide across the table.
TESSELLATION 1
TESSELLATION 2
TESSELLATION 3
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DIGITAL MODELLING
DENSITY ANALYSIS: With a chosen tessellation to explore, digital manipulation began. Here gradient images were used to control how ‘dense’ the tessellation appeared. As the ‘density’ was increased the pieces in the top half of the tessellation gradually became more pointed, whilst the bottom half remained rounded before finally breaking apart. This adds another layer of complexity and interest to the design and also provides more strength to the base of the structure, as the rounded pieces provide less weak points in comparison to the pointed pieces. It was found that a density of around 55 produced the most desirable outcome.
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CONTROLLING GRADIENT
DENSITY: 10
DENSITY: 30
DENSITY: 50
DENSITY: 55
DENSITY: 60
DENSITY: 67
DENSITY: 75
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ROTATION ANALYSIS: Another aspect of the tessellation which was explored was how much the pieces could be rotated to produce a desirable gap to tessellation ratio. As the rotation increased the gaps in the tessellation grew in size before the tessellation finally reached a point where it could no longer be recognised. A rotation of 15 was found to produce the best ratio.
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ROTATION: 15
ROTATION: 0
ROTATION: 5
ROTATION: 10
ROTATION: 20
ROTATION: 25
ROTATION: 30
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CONNECTION LENGTH ANALYSIS: Lastly the connection of the pieces was analysed. As the length of the connection increased the pieces locked together more desirably, before finally producing results with too many weak points to be viable. It was found that a connection length of 50 produced the most desirable outcome.
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CONNECTION LENGTH: 40
CONNECTION LENGTH: 10
CONNECTION LENGTH: 20
CONNECTION LENGTH: 30
CONNECTION LENGTH: 50
CONNECTION LENGTH: 60
CONNECTION LENGTH: 70
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PROTOTYPE 2 3D PRINTING: This second prototype utilised 3D printing to test the strength of the tessellation when mapped onto a doubly curved surface. The results found that the pieces strength only existed if the force was applied onto itself. In which a wall structure could be suitable as each of the pieces vertically stacking, would hold more strength than that of a ceiling like structure, whereby the horizontal pieces cannot rely on each other for strength. It was also found that whole pieces could potentially be removed from the tessellation to experiment with light and shade.
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CONCEPT 1
CONCEPT 2
CONCEPT 3
FORM
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CONCEPT 4
CONCEPT 5
CONCEPT 6
FORM EXPLORATION: Experimentation then began to map the tessellation into a viable structure. As was discovered with the second prototype, this form had to remain in a more vertical plane in order for the tessellation to gain the most strength. Acknowledging this, Concepts 2 and 4 would then be unsuitable for construction as the overhead pieces would easily give way.
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REFINEMENT 70
FORM REFINEMENT: With the understanding that the tessellation needed to remain upright, the following concepts were explored. These involved extruding the actual tessellation geometry to produce an open pavilion structure which could then be twisted and manipulated to produce intriguing curves.
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FORM REFINEMENT: Once settled on a suitable form, the tessellation could then be mapped onto it. During this stage the tessellation was also altered, opting for a geometry with curved edges over straight ones, to better relate to the curves of the form itself. This is where the previous analysis of the tessellation’s density, rotation and connection length came into play. It was also decided that individual pieces would be removed from the form to allow for more light to pass through.
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3D PRINTING: With a completed design, the form was then 3D printed. In order to maximise space within the printer, the decision was made to dismantle and print the structure as individual pieces, rather than as a completed structure, as had been done with prototype 2. This provided difficulties when constructing the form as having over 100 unique, although very similar pieces, turned construction into a literal jigsaw. These issues resulted in the prototype being left incomplete. It was also found that the allowance which had been given between the pieces may have impacted their connection, resulting in them misaligning in some areas.
PROTOTYPE 3
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CONSTRUCTION 80
METHODS: In terms of real life construction, each of these pieces could be produced via concrete milling techniques combined with diamond or water-jet cutters. This would involve taking a large piece of stone, such as granite, milling out the curvature of the piece with a concrete miller, before finally cutting out the geometry with a diamond or abrasive water-jet cutter. These pieces could then be joined and locked together via a dowel like system. This process, whilst plausible would involve a high cost for both materials and machinery and would require an extensive time span.
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REFLECTION: Having explored the extensive possibilities of tessellated structures, several conclusions can be reached. Firstly, in order for the structure to remain structurally sound gravitational forces must be applied onto itself on a vertical plane, rather than that of a horizontal one. Furthermore, whilst it is possible to create a structure purely from unique pieces it is not advisable in reality, both due to construction costs and sorting difficulties, as was discovered through Prototype 3. Moving forward with this project the number of unique pieces should be limited through a more standard form and a coding or labelling system should be explored to ease the construction process.
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P R O J E C T 3 8 . 8 PA R T 2
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LOCKING MECHANISM: After assessing the previous design, it was concluded that a locking mechanism should be explored to allow each of the pieces to connect more securely. Inspired by the way jigsaw pieces interlock two possibilities were explored, one for the straight edge tessellation and one for the curved. It was decided that the curved option would be pursued.
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VA R I A B L E A N A LY S I S
INTERNAL CURVES: Once again each of the tessellation’s variables required analysis to produce the best outcome. Here the left hand curve which connects to the circular lock is being tested. A 0.6 curve was decided upon.
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INTERNAL CURVE: 0
INTERNAL CURVE: 0.1
INTERNAL CURVE: 0.2
INTERNAL CURVE: 0.3
INTERNAL CURVE: 0.4
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INTERNAL CURVE: 0.5
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INTERNAL CURVE: 0.6
INTERNAL CURVE: 0.7
INTERNAL CURVE: 0.8
INTERNAL CURVE: 0.9
INTERNAL CURVE: 1
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EXTERNAL CURVES: Here the right hand curve which connects to the circular lock is being tested. Once again a 0.6 curve was chosen.
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EXTERNAL CURVE: 0.1
EXTERNAL CURVE: 0.2
EXTERNAL CURVE: 0.3
EXTERNAL CURVE: 0.4
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EXTERNAL CURVE: 0.5
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EXTERNAL CURVE: 0.6
EXTERNAL CURVE: 0.7
EXTERNAL CURVE: 0.8
EXTERNAL CURVE: 0.9
EXTERNAL CURVE: 1
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LOCK SIZE: The size of the circular lock is another aspect which required analysis. A lock size of 10 was found to be the most desirable as it provided a strong connection but did not dominant the rest of the tessellation.
LOCK SIZE: 1
LOCK SIZE: 5
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LOCK SIZE: 7
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LOCK SIZE: 10
LOCK SIZE: 15
LOCK SIZE: 20
LOCK SIZE: 25
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ROTATION: 1 ROTATION: Once again the rotation angle of the tessellation had to be analysed to produce a good gap to tessellation ratio. A rotation of 6 gave the best results.
ROTATION: 5
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ROTATION: 10
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ROTATION: 15
ROTATION: 20
ROTATION: 25
ROTATION: 27
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CONNECTION LENGTH: The final variable which was tested was the length of the connection. Here a connection length of 35 was found to be optimal.
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CONNECTION LENGTH: 1
CONNECTION LENGTH: 5
CONNECTION LENGTH: 10
CONNECTION LENGTH: 15
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CONNECTION LENGTH: 20
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CONNECTION LENGTH: 25
CONNECTION LENGTH: 30
CONNECTION LENGTH: 35
CONNECTION LENGTH: 40
CONNECTION LENGTH: 41
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STANDARDISING FORM
12 VARIATIONS; 72 TOTAL PIECES
ANALYSIS: Addressing the need to limit the number of unique pieces; different forms were explored and manipulated to discover which could produce the fewest piece variations. Here the different colours represent a set of pieces which consist of the same form. It was found from these outcomes that the form should remain as pure as possible to keep the variations to a minimum. 9 VARIATIONS; 60 TOTAL PIECES
4 VARIATIONS; 24 TOTAL PIECES 108
12 VARIATIONS; 80 TOTAL PIECES
12 VARIATIONS; 72 TOTAL PIECES
12 VARIATIONS; 24 TOTAL PIECES
12 VARIATIONS; 20 TOTAL PIECES
12 VARIATIONS; 60 TOTAL PIECES
12 VARIATIONS; 24 TOTAL PIECES
4 VARIATIONS; 16 TOTAL PIECES
4 VARIATIONS; 20 TOTAL VARIATIONS 109
U N I Q U E P I E C E A N A LYS I S
ANALYSIS: Having established an understanding for the type of form which could minimise the number of unique pieces, exploration continued to find the most suitable structure. Here it was found that a flared cylindrical structure could be reproduced through a minimum of 8 sets of unique pieces, which would be distributed in 8 layered rows.
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45 VARIATIONS
12 VARIATIONS
8 VARIATIONS 111
CODING SYSTEM
CODING RULES: Learning from the difficulties of Prototype 3, it was decided that a coding system needed to be implemented to distinguish between each of the variations. Having limited the number of unique pieces down to 8, this coding system would then require 8 variations. It was decided that a series of concaves and convex would be placed on the circular locks to distinguish between them. The second row, for example would consist of pieces with two concaves and one convex.
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FORM REFINEMENT
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FINAL FORM
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P L A N S ; S E C T I O N S ; E L E VAT I O N S
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TOP
LEFT SECTION
FRONT
RIGHT
BACK SECTION
PLAN
BACK
LEFT
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CONSTRUCTION
GRC/FRP
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FIBREGLASS
INJECTION MOULDING
METHODS: With a reviewed design, new construction techniques could be explored. Since the number of unique pieces had been minimised, the option of using a series of moulds for each of the variations became a viable option. Due to the intricacy of the tessellation, each of the pieces would need to be constructed from a strong and durable material. It was found that materials such as glass reinforced concrete, fibre reinforced polymer and fibreglass, which due to their tensile characteristics would be suitable materials, could be used in accordance with a custom moulding system. Another alternative would involve injection moulding; however, this would limit the use of materials.
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PROTOTYPE 4: MOULD AND CASTING
MOULD SYSTEM: Keen to test how viable a moulding system would be in reality; a new prototype began. Here a digital model was produced and sent to the CNC machine where it was milled out of foam. This CNCed mould was then used to cast the tessellation pieces with plaster. Whilst the tessellation pieces were found to crack at their weak points, due to the brittleness of the plaster, it was concluded that the use of a more appropriate material, such as the proposed GRC/FRP or fibreglass, would be able to retain the shape of the desired geometry.
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CNC machine at work.
The machine mills out the foam, layer by Plaster casting begins. Advised of a layer. potential weak point, clay is used to separate the piece into 2 halves to be joined later.
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The second halve of the casting begins.
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A whole piece is cast together to test the potential for cracking.
The two halves are joined together with cornice adhesive.
In an attempt to minimise the risk of cracking the tessellation piece is cut from the mould.
During the unmoulding process the piece was found to crack at the weak points as expected.
Both attempts were found to crack at the same weak point.
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PROTOTYPE 5: DIAMOND WIRE CUTTING
DIAMOND CUTTING: As was explored previously, diamond wire cutting is another option which could be viable to produce this structure. In order to test this system further, a hot wire was used to mimic the straight path which a diamond cutter must adhere to. Due to the fixed nature of the hot wire in comparison to the mobile diamond cutter, it was found that the form itself would need to be angled at a particular degree to create the desired form, as any other angle would produce a different result, as the diagram on the right demonstrates. The angle which was found to give the correlating form was 38.8 degrees. The results from this prototype proved very promising, despite the human errors which could be resolved with robotics.
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ATTEMPT 1 The foam block is cut down to fit the dimensions of the hot wire.
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The block is placed on the angled base and rotated through the hot wire.
Before the out layer is removed.
After the outer layer is removed. Some sanding is required around the bottom edge for smoother results.
The final outcome demonstrates the ability to create the curvature of the tessellation pieces with a diamond cutter.
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ATTEMPT 2 The foam block is prepped for cutting.
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Before the outer layer is removed.
After the outer layer is removed, a smooth finish is created.
The hot wire didn’t quite reach the template as desired.
A slightly different form is created due to human error not meeting the desired angle.
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DIAMOND CUTTING: Having proved that the curvature of the pieces could be reproduced, it was time to test that the geometry itself could also be cut with the same principles of the diamond cutter. With the aid of templates and a hot wire these outcomes were produced, demonstrating that whilst complex, this geometry can be reproduced in reality.
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PROTOTYPE 6: 3D PRINTING
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REFLECTION: After extensive research and exploration, it was concluded that tessellation could be used as the basis for architectural design. With the ability to produce intriguing and complex designs there are endless possibilities which are still left to explore.
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