Design Studio
BEYOND ACCIDENTISM Philipp Hammesfahr, 0928777 Blaž Grudnik Tominc, 14186611
C O N T E N T S
INTRODUCTION
DESIGN RESEARCH
INITIAL AT TEMPTS
MATERIAL : FABRIC ATION
DIGITAL DE SIGN TOOLS
01 01.01
RESEARCH CONTEXT : ARCHITECTURAL ISSUE
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REFERENCES
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p 009
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LEARNING FROM NATURAL ORGANISATION
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OPENING : CLOSING
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PERFORATION
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INITIAL MATERIAL EXPERIMENTS
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FINAL MATERIAL APPROACH
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MANUAL WORKFLOW
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PROCESS PROPOSAL
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FINAL DISTRIBUTOR / NOZZLE
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MATERIAL TESTS
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PRODUCTION PARAMETERS
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DE SIGN APPLICATION
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p 091 DIGITAL WORKFLOW
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WALL
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COLUMN
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COLUMN FORMATION / PAVILLIONW
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01 research context : architectural issue
The content of this work focuses on the self-cultivating processes of a certain material in predetermined environment where most of the parameters can be controlled in order to use a substances natural behaviour to translate it directly into architectural principles. The generative process hereby created shall act as a mostly autonomous system which independently determines its features from within its own dynamics. Thereby the system becomes its own creator while human interference only acts as the supervision of the systems parameters. This form finding method stands in direct contrast to the classical approach of designing in which the human mind determines the final results. This way of working has its limits since those who are pursuing it are not limited by their imaginations but by what their very own hands were able to depict. With the digital evolution and the technological advantages that are available today it is no more about drawing a shape or a geometry but to work with a set of parameters that generate an output.
“From the standpoint of Taoist philosophy natural forms are not made but grown, and there is a radical difference between the organic and the mechanical. Things which are made, such as houses, furniture, and machines, are an assemblage of parts put together, or shaped, like sculpture, from the outside inwards. But things which grow shape themselves from within outwards—they are not assemblages of originally distinct parts; they partition themselves, elaborating their own structure from the whole to the parts, from the simple to the complex.” Alan Watts, 1958
“This fundamentally changes the design process. The technical aspect moves into the background and is replaced by abstraction and information as the meta level is realized. Generative design begins not with the formal questions but with the recognition of phenomena.”1 It is not about designing a design rather than designing the process that generates a design. While the design canon of a generative process can reach beyond infinity the aim of this project is to merge both the digital and the physical approach of creating generative / self-organising structures to be able to digitally foresee an artefact which then is able to free itself from the chains of the digitalisation. 1
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Opiamas Trangelo (2010) by Matt Pearson
Multiple artworks produced by a single algorithm.
Matt Pearson: Generative Art; 2011
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02 references
Taking a look into the existing attempts to successfully transfer generative design into a functioning architectural application, it has been found, that generative part remains mostly digital, while transferring the digital design to real usually happens with help of “conventional� methods, such as 3D printing or laser cutting, thus predetermining the outcome before the process turns to physical construction of components.
01 SCUMAK NO. 2 / Roxy Paine / 2000 The self-operating machine melts plastic (PE) with pigments and periodically extrudes them onto a conveyor belt, creating bulbous shaped sculptures that are each unique. It mimics the factory assembly line. A computer program controls the process as colored polyethylene beads are heated. Molten plastic is dispensed and collects on a conveyor belt.
Key Ideas: Self-organization of the material Without any parameters, that would influence the outcome in terms of shape, which is thus predefined as a blob
Computer-operated sculpture-making machines, or Scumaks, address automation and computerization in contemporary life and spark dialogue about the purpose of art and the artist.
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02 APERIODIC SYMMETRIES / Marc Fornes, TheVeryMany / 2009
03 PLATONIC SOLIDS / Michael Hensmeyer / 2008
The project explores complex spatial structures that are generated using optimization algorithms.
The project explores how a purely operations-based geometric process can generate complex form.
This approach to architectural form aims to optimize, within the design process itself, structural features such as engineering, cost, air circulation, light transmission, and – not least – aesthetic quality. The individual elements are made of polyethylene sheets and were produced within five days using CNC milling machines.
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Key Ideas: (Structural) optimization through the process Evolution of the design based on performance Problematic realization of the structure
Rather than studying the possibilities in combining numerous primitives, this project examines the potential inherent in a single primitive given an appropriate process. It takes the most primitive forms, the platonic solids, and repeatedly employs one single operation – the division of a form’s faces into smaller faces – until a new form is produced.
Key Ideas: Using primitive predetermined geometry as input Generation of the form through same, single, repetitive process
All of the forms shown are generated using the same single process, Only the variables that control the process’ division operation are allowed to change. This single process affects both the form’s topography and topology. 0 0 8
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01 learning from natural organisation
A key factor in the creation for patterns in form in nature is movement. Examples reach from the natural pattern of today’s canyons created by the movement of water to the typical patterns in dunes and deserts created by wind to the to the fastly generated and ever-changing patterns of a swarm of birds set in motion. All of those examples are perfect paradigm to show that there appears to be no end to these patterns of which each is an interaction between parameters that no individual has ever defined or planned. In this research project gravity translates the motion vector of the PLA into a downward movement creating all the force necessary to obtain a natural organisation and behaviour of the PLA in the moment as it hits the water. Another important factor of the research is the behaviour of hot wax when it comes in contact with water. As hot wax is ejected into cool water, the wax buoyancy and its rapid phase change lets it form geometries that are not the classical man-made structure and thereby define a natural geometry. A similar process can be found in nature when the hot lava of a freshly erupted volcano meets the waters of the ocean. As soon as the liquid lava cools down it shows the behaviour of natural organisation defined in the patterns of the solidified lava.
Natural organisation
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02 opening : closing
The perforation effect of the ribbons can be created by continuously raising the water level in direct reference to the pouring velocity of the PLA. Since the water level in acquisition to last printed ribbon-row defines the size of the ribbon the perforation effect is created by changing the distance of the water surface to the last created row. The maximum of the ribbon-size is determined by a maximum distance and the amount of PLA the nozzle will let through.
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03 perforation
The method of perforation in architecture has been in use for the course of a few centuries as a distinctive method to either control the level of light entering a building or to induce privacy into facades and / or walls. As the functions of perforation largely remained the same, the methods in manufacturing changed significantly. The time of hand-use in the fabrication has long gone since computer controlled technologies now are easily able to work with a perfection that labour workers just weren’t able to produce, especially on a large scale. Ever since, detailed patterns in various sizes and scales can easily be carved into a large variety of materials for either interior or exterior use. In a traditional sense patterned perforations in facades and walls are a characteristic feature of many buildings in Asia, the middle east as well as north Africa, where they were traditionally being produced by skilled workers. The complexity of their perforation here often demonstrates the wealth and / or importance of the occupier, often to be found in different places of worship. The classical range of application inspired contemporary architects into investigating new functional as well as aesthetic possibilities. 1 ) Perforated facades enable interior spaces to benefit from natural light while reducing the glare of direct sunlight, thereby creating pleasing environments; 2) Perforated facades have a narrative aspect to them which allows them to communicate / can create a dialogue between spaces; 3) Facades and walls that are perforated can have a distinct personality; 4) Perforated facades can act as a regulator for the interior temperature; 5) Perforation can create privacy and intimacy. By being able to control the openings and closing through in- as well as decreasing the ribbons in size this research project aims to induce the architectural aspect of perforation in a natural way into architectural elements. Opening : Closing and Perforation
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01 initial material experiments
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Principle 1
Principle 2
Wax experiment
Wax experiment
Vertical “growth”
WAX
AT T E M P T S
Horizontal “growth”
Being able to control the characteristics of the encounter between two fluids, each different in temperature. A main example and inspiration for the idea was the solidifying attribute of hot wax when applied to another cooler fluid, e.g. water. The moment it hits the water surface the hotter wax solidifies, resulting in different shapes, each one looking like the material is trying to escape a centre-axis of the formed artefact. The question came if we were able to control the behaviour of the solidifying wax in order to generate an architectural value. In first experiments we quickly realised that we not only were able to control the points where the wax dropped into the water but were also able to control the growth process of wax by applying water to the hot wax rather in a small than in a big measuring. By doing so we realised that we were able to cool the wax on the spot where we wanted and by that generation linear column-like geometries.
Artefact 1
Artefact 2
Wax in cold water
Process of self organisation
In the same breath we discovered that the density of wax, especially paraffin, has a lower density that water which makes it float on the water surface. This gave us the opportunity to create cantilever at a specified point by simply raising the water level to where the overhang should be. From the initial experiments we discovered that the most important parameters in the setup are the difference in temperature between the reacting fluids, the intensity of the impacts of the reacting fluids as well as the height and the water level. The initial experiments also revealed the low structural integrity of wax as well as its natural behaviour towards heat which made it a cheap but inefficient material for the forthcoming process.
Wax experiment Larger artefacts
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Trying to find another suitable material, we experimented with “Bioplastic� - plastics derived from renewable biomass sources, such as vegetable fats and oils, corn starch - converting sugar present in plants into plastic / polymers.
PROCESS
BIOPLASTIC
Although the resulting material had a lot of promising characteristics, such as being relatively cheap, easily handled, it had a simple possibility of colour addition and no water was needed to cool it, it proved nearly impossible to find a proper architectural application. Firstly, time needed to prepare a small batch of material was relatively long (around 30 minutes). Secondly and most importantly, it was impossible to form any self-supporting structures as the cooling time (which we defined as the time, in which it cooled enough to not run anymore) was more than 5 minutes - that was the time when the structure itself was changing / self-organizing, but not in terms of shape, but in terms of collapsing. Although the material itself was not applicable in the aim of this research, we anaged to get two important finding out of the experiments conducted; 1) The movement of the point, where the material exits the container in which it is, determines the general shape of the projected object, a concept which 3D printing industry is using. This concept was readopted in the later the research phases;
VINEGAR / GLYCEROL / ADDITIVES
First attempts were promising, as the material was of the right viscosity or at least the viscosity could be influenced by a number of parameters / materials added to the initial mixture.
STARCH / WATER
Being a homemade material, the mixture that needs to be heated generally consists of household items: corn or potato starch, glycerine, water, vinegar and various additives to achieve different results (glue, clay, pigments ‌)
HEATH / MIX / MIX
2) The shape of the nozzle, has a tremendous effect on the selforganisation of the material. This too, was later used as a parameter with the final approach.
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Material 1
Material 2/3 30g
Potato starch
30g
Potato starch
15 g
Corn starch
15 g
Water
8tsp
Water
100 ml
Water
60 ml
Water
60 ml
Vinegar 5%
2tsp
Vinegar 5%
10 g
Vinegar 9%
5g
Vinegar 9%
5g
Glycerine
1tsp
Glycerine
7g
Glycerine
3.5 g
Glycerine
3.5 g
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Material 9
Material 10
Potato starch
15 g
Potato starch
15 g
Corn starch
15 g + 10g pigment
Corn starch
15 g + 10g pigment
Water
70 ml
Water
50 ml
Water
60 ml
Water
60 ml
Vinegar 9%
5g
Vinegar 9%
5g
Vinegar 9%
5g
Vinegar 9%
5g
Glycerine
3.5 g
Glycerine
3.5 + 5 drops Baby Oil
Glycerine
5 + 5 drops Baby Oil
Glycerine
5 + 5 drops Baby Oil
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AT T E M P T S
Material 13/2
Material 13/3
Corn starch
100 g
Corn starch
130 g
Corn starch
100 g + 20 g pigment
Corn starch
100 g
Vinegar 9%
10 ml
Vinegar 9%
10 ml
Vinegar 9%
10 ml
Vinegar 9%
10 ml
Baby oil
10 ml
Baby oil
8 ml
Baby oil
10 ml
Baby oil
10 ml
White glue
80 ml
White glue
100 ml
Glycerine
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Glycerine
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Variation of material 2
Self Organization from a constant flow
Variation of material 9
Self Organization from a constant flow
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Variation of material 13
Self Organization from a constant flow
Variation of material 10
Self Organization from a constant flow
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Variation of material 4
Self Organization from a constant flow
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Self Organization from a constant flow
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Self Organization from a constant flow with big batch of material / 30 seconds
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Architectural Application Attempt 2
Influencing the Self Organization by a path resulting in construction components / 30 seconds
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Architectural Application Attempt 1
Influencing the Self Organization by a method of spatial wireframe - supporting structure / 30 seconds
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PLA Continuing the material experiments, we found out that PLA is a very applicable material, since it is available in large quantities, offers a similar behaviour in its phase transition as wax, has a relatively low melting point compared to abs, has proper structural abilities and is waterproof.
Principle 1
Principle 2
Principal 1 applied to physical model
Principal 2 applied to physical model
Punctial water “growing” shape vertically
Punctial water “growing” shape horizontally
In the first experiments in which PLA was treated like the wax from the first experiments revealed that it behaves similar to wax with the only difference being the higher density of the PLA. While redetermining the shape one wants to achieve the dose of the applied water on the hot PLA determines the punctual growth of the material thereby creating planned geometries with a pattern created from the natural solidifying process of the hot PLA during its state of aggregation.
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Various initial attempts
Pouring melted PLA into cold water
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Attempts 1 and 2
Defining the initial shape as a path
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Architectural application of the principle
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water in�low
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water container
pla container
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melting pot
02 final material approach
Since this method is more or less a way of 3D-Printing e.g. a method of generating predetermined geometries with only a slight essence of the process of natural organisation on the surface, we decided that we had to dig deeper into the characteristics of the natural behaviour of solidifying PLA. From former experiments we learned that PLA forms ribbons when applied to an already raised water level. In continuative experiments we found that the size of the ribbons can be controlled through by the parameters of the height by which the PLA is applied to water and by the amount of water inflow during the process of pouring PLA into a container.
water level
heater
nozzle
material (pla)
From here on we decided to pursue the parameters of the ribbons size in order to translate them in the architectural ideals of perforation.
Ribbons
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Phase 1
Melting PLA: 250° C / 25min
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01 manual workflow PLA container 30
70
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Phase 1
Filling the container (initial water level) Handheld plate
Exchangable final distributor plates (nozzle)
Handheld set-up used in this research project 70 x 30 cm
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In physical experiments
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Continous flow of PLA
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02 process proposal
The manual workflow implied several challenges in terms of precision, the proper usage of the PLA and the water inflow. By using the apparatus by hand, the precision of movement likewise found in the systems of e.g. a 3D printer could not be guaranteed by the manual movement of the nozzle thereby limiting our process to simple geometries and nozzle movements. The next issue in the manual workflow is the deficiency in ability to control the heating process of the PLA because of which we were more or less unable to guarantee the same characteristics of the PLA in every working session. To control the melting process of the PLA a system needs to be designed that properly heats the PLA to its melting temperature in a short time span in a vacuum in a high temperature environment (600°C) since this is how PLA is used industrially. Also the water inflow lacked perfection in the manual workflow which could be enhanced by a computer controlled water system that is able to de- and increase the water level continuously.
in w /o at u er t fl o w
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03 final distributor
The early experiments revealed that the shape through which the PLA exits the container has a big impact on the actual ribbon. In digital simulation done in Blender, we first defined 12 different shapes for the material distribution. Coming from that, we defined 2 different shapes to do a physical experiments with. In tests we tried punctual as well as linear nozzles in different sizes.
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04 material tests
In initial material tests we tried to change the outcome of the ribbons size by only changing the parameter of the material. Therefore, we tested changes in temperature as well as in density by adding different materials. PLA Temperature Temperature tests The temperature of the PLA has a big impact on the final result. The PLA has a melting temperature of approximately 250 degrees Celsius. Once it reached that temperature it starts its change in aggregation. During that change the material goes from solid to viscous in different stages. It starts out with a low viscosity gradually changing to a high viscosity.
the “colder� the PLA, the bigger the ribbons
T (PLA) +++++
Getting the right viscosity for the ribbons became a key element in the process of creating the perforation since a high viscosity results in a more liquefied PLA which exists the nozzle at a higher speed. The speed of the PLA combined with its high viscosity results in very small and dense ribbons. On the other hand, a low viscosity PLA has a very low flow rate and though exits the nozzle at low speed. The combination of these two characteristics results in naturally bigger ribbons. Addition of material
PLA Temperature
the hotter the PLA, the smaller the ribbons
In order to change the ribbon size, we figured that a change in density might let the PLA intrude further into the water that just the PLA. In different test we mixed the PLA with different amounts of sand to create bigger ribbons. Eventhough this resulted in interesting spatial formations, the resultsshowed that this does not have any significat influence over the creation of ribbons, since their size can always be controlled by the distance from the nozzle to the water surface and by the water inflow regulating the water surface.
T (PLA) +++++
Addition of material
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Artefacts from experiments with added material
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05 production parameters
For addressing all the important parameters of creation of the ribbons in different sizes, the following parameters in the initial setup had to be controllable as well as adjustable at any given moment as changes in those parameters define the outcome.
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T (PLA) +++++
PLA Temperature
PLA Temperature
Distance from the nozzle to the water
Distance from the nozzle to the water
Amount of PLA in the container
Amount of PLA in the container
the “colder� the PLA, the bigger the ribbons
the hotter the PLA, the smaller the ribbons
The temperature of the PLA the hotter the PLA, the higher the viscosity, the smaller the ribbons The temperature of the water the colder the water, the faster the material cools down The final distributor / nozzle the shape of the nozzle defines the ribbons cross section The distance from the nozzle to the water the further the distance of the nozzle to the water, the smaller the ribbons The nozzles movement as it defines the geometries to which the per foration can be applied
the further the nozzle, the bigger the ribbons
the closer the nozzle, the smaller the ribbons
The amount of PLA in the container the more PLA there is in the container, the stronger the flow of it, the bigger the ribbons
the more material, the bigger the ribbons
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the less material, the smaller the ribbons
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/
1 1 6
M AT E R I A L
:
FA B R I C AT I O N
M AT E R I A L
:
FA B R I C AT I O N
Size and openness of ribbons - artefact 1
Affected through defined production parameters
0 8 1
I
S O L I D V O I D S
0 8 2
/
1 1 6
M AT E R I A L
:
FA B R I C AT I O N
M AT E R I A L
:
FA B R I C AT I O N
Size and openness of ribbons - artefact 2
Affected through defined production parameters
0 8 3
I
S O L I D V O I D S
0 8 4
/
1 1 6
M AT E R I A L
:
FA B R I C AT I O N
M AT E R I A L
:
FA B R I C AT I O N
Size and openness of ribbons - artefact 3
Affected through defined production parameters
0 8 5
I
S O L I D V O I D S
0 8 6
/
1 1 6
M AT E R I A L
:
FA B R I C AT I O N
M AT E R I A L
:
FA B R I C AT I O N
Size and openness of ribbons - artefact 4
Affected through defined production parameters
0 8 7
I
S O L I D V O I D S
0 8 8
/
1 1 6
M AT E R I A L
:
FA B R I C AT I O N
M AT E R I A L
:
FA B R I C AT I O N
Size and openness of ribbons - artefact 5
Affected through defined production parameters
0 8 9
I
S O L I D V O I D S
0 9 0
/
1 1 6
D I G I TA L
D E S I G N
T O O L S
D I G I TA L
D E S I G N
T O O L S
05 I DIGITAL WORKFLOW 9 1
I
S O L I D V O I D S
9 2
/
1 1 6
D I G I TA L
D E S I G N
T O O L S
05
D I G I TA L
D E S I G N
T O O L S
01 digital workflow
a) mimicking the ribbon b) mimicking the layering in the printing process c) mimicking the size of ribbons in reference to the water level d) generating geometries e) defining the perforation f) applying the perforation to generated geometry
9 3
I
S O L I D V O I D S
9 4
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
06 I DESIGN APPLICATION 0 9 5
I
S O L I D V O I D S
0 9 6
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
Ribbon pattern applied to a surface Wall design application
0 9 7
I
S O L I D V O I D S
0 9 8
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
Input geometry - Open : Closed / Solid : Void Wall design application
0 9 9
I
S O L I D V O I D S
1 0 0
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
Ribbon pattern applied to the input geometry - Open : Closed / Solid : Void Wall design application
1 0 1
I
S O L I D V O I D S
1 0 2
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
Twisted Surfaces Column Column design application 1
1 0 3
I
S O L I D V O I D S
A P P L I C AT I O N
Ribbon application to input geometry Column design application 1
1 0 4
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
Ribbed Column
Column design application 2
1 0 5
I
S O L I D V O I D S
A P P L I C AT I O N
Ribbon application to input geometry Column design application 2
1 0 6
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
Structurally Enhanched Column Column design application 3
1 07
I
S O L I D V O I D S
A P P L I C AT I O N
Ribbon application to input geometry Column design application 3
1 0 8
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
Twisting Columns
Column design application 4
1 0 9
I
S O L I D V O I D S
A P P L I C AT I O N
Ribbon application to input geometry Column design application 4
1 1 0
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
Column Pavillion - Input Geometry Formation of flared columns
1 1 1
I
S O L I D V O I D S
1 1 2
/
1 1 6
D E S I G N
A P P L I C AT I O N
D E S I G N
A P P L I C AT I O N
Column Pavillion - Ribbons applied to input geometry Formation of flared columns
1 1 3
I
S O L I D V O I D S
1 1 4
/
1 1 6
SOLIDVOIDS / Design Studio BEYOND ACCIDENTISM / Philipp Hammesfahr, Blaž Grudnik Tominc University of Technology Vienna, 2016