portfolio
The Bartlett School of Architecture
thesis supervisor: KLAAS DE RYCKE
MArch Design for Manufacture 2017-18 RS102
tutors: CHRISTOPHER LEUNG, GARY EDWARDS
Dafni Georgoula
Initial explorations between found objects, photogrammetry, geometry and motion control through arduino. The final outcome was a cone forming machine, activated by servos.
Robotic Observatory
II
A group exploration towards the engagment of Surrealism with Design for Manufacture, with main focus in Consequential Making. team: Mariya Li, Dafni Georgoula
Spinning Sound Paths
IV
Cone Forming Machine
A group proposal for the design of a telescope enclosure for UCLO. This perpective is investigating the geometry of the enclosure. team: Rachell de Guia, Sruthi Venkatesh, Mariya Li, Dafni Georgoula
III
Theatre of Consequential Making
Final Design Project, main focus in metal spinning, material behaviour and assembly methods.
Contents
I
from articulated cones
I
Cone Forming Machine
to cone forming machine
cone
d
ee
s
60
30
r eg
de
gr
ee
s
G e ome t r y An a l y s i s o f t h e c o n e
0 degrees
C
A
A
A
B
A
A
A
type I
type II
type III
couples st able c o n n ecti o n types
types
II+I
I+I
types
types
1 de gr ee o f fr eed o m
III + I
II + II
types
types
II + III
III + III
ty pe I + I
rota tion with int er nal gea rs
type III + III
rotation with i nternal gears
type II + II
rotation with internal gears
chain
type s I I I +I
type s I +I I I
type s I I +I
type s I I I +I I
type s I +I I I
continuity
stable conne c t i o n 1 degr ee of f r e e d o m
A I+
III
paper model
A III
+I
III
+I
A
A
II+
III
II+
III
A
Researchs's conclusion I divided the curved surface of each cone into 12 flat sur faces, at the cone TYPE I, all the surfaces were the same with edge dimemsion A. At the TYPE II and III, because of their symmetry I captured the same surface twice in each cone with one surface at each side of each cone that had one edge A. So the couples TYPE I+I, II+II, III+III, are able to roll around each other without losing con -
type II + type I I
type III + type I I I
type I + type I
unfolding
nection, as they have during the whole rotation the same edge distance Because of the parameters (sections with starting point at height A) that I decided to fol low at previous stage, all the TYPES have one edge distance A. At this point the cones are able to connect with different TYPES of cones , only with a sta ble connection, because if they start to roll on each other they won't be in touch anymore.
prototypes
performance
robotic observatory
Robotic Observatory
II
UCLO at Mill Hill
introduction
My role was to find the shape of our robotic enclosure and its reconfiguration. I started searching for existing solids and mechanisms, first, I searched archimedeans fold up patterns and intersections of different geometries, conducting a geometry analysis of the possible solid shapes.
After that, I tried to optimize the shape and find the way of its reconfiguration, searching for existing mechanisms with more than two degrees of freedom (telescope motion required more than two dof), so I ended up with stewarts platform mechanism.
uclo https://www.google.com/maps
here east http://www.ulo.ucl.ac.uk/inc/img/DragonflyULO.jpg
The robotic enclosure will be placed at the rooftop of the front building in uclo campus, either at point 1 or point 2. We have to take into account the surrounding buildings and in total the optical barriers.
p1 p2
meade lx200 on the site - uclo rooftop
meade lx200
After a visit to uclo in order to measure the meade lx200, i realized that the tripod it is not always necessary, instead of that we can design a base to mount the telescope. (in case of optical barriers it is necessary). This information can be crucial for the size of the enclosure. A suggestion is to develop a main body of the enclosure only for the telescope and a deployable frame structure for the tripod.
1. smaller size - more portable 2. no height restrictions from the environment 3. less stable
tripod or not? 1. bigger size - less portable 2. when there are height restrictions from the environment 3. more stable - the bottom part is from rigid panels
exploring phase purde university, 2012 -robot-like mechanisms -from a single sheet of paper -basic structural units, building blocks that when they are linked together, create larger structures
https://www.researchgate.net/figure/Folding-flattenedcrease-cut-attachment-pattern-to-a-single-skew-tetrahedral-BSU_fig2_270582953
: Chuck Hoberman
Steel Testing
fold up patterns
-steel sheet 0.6 mm -water jet cut -folding machine -cardboard 1.0mm -laser cut -manual folding https://www.geometrycode.com/free/archimedean-solids-fold-up-patterns/
Cardboard Testing
-folding mechanism by scissor -like action of its joints
geometry analysis 1st Approach: intersection of a triangle and a cylinder
basic existing geometries:
1. telescope - cylinder
2. tripod - triangular 5
6
7
8
design elements:
A
1. a cylinder around the telescope, in circular pattern 1
2 3 2. a triangular around the tripod
4
5
6
7
8
B
A
m
5m 62 2nd Approach: inclination analysis
1300.77mm
2183.58mm
1558mm
B
C
-narrower opening for the enclosure -more empty space inside
D
C
E
264mm 1334mm
366mm
D
E
F
5
6
7
8
-wider opening for the enclosure -less empty space inside
F
1
2
3
4
5
6
7
8
foam sheet model
inclination analysis
cardboard model
intersection of a triangle and a cylinder
reconfiguration of the structure Case 1:
R IG ID
Case 2:
DE PLOYABL E site non-specific:
site specific: consideration of the existing, surrounding buildings 1
2
A
3
4
5
6
7
1
2
can be located in every open space environment
8
3
4
5
A
m
6
7
8
5m
62
A
A
m
5m
1300.77mm
57
mm B
1433mm
1558mm
15
C
B
C
a
D
E
can be when the enclosure closes, fast assembly and disassembly
D
E
1133mm
E
D
362mm
264mm 366mm
for
1334mm
enough
E
F
F 2
2
3
4
3
4
F 5
1
6
5
2
4
5
6
5
A
6
F
7
7
8
8
A
3
264mm
B
B
C
C
D
D
E
E
366mm E
1334mm
366mm
1334mm
2
1300.77mm
B
D
F
1
4
8
1558mm
1300.77mm
2183.58mm
on a side for a person: 1. on the top for the observations 2. on the bottom for the tripod E
8
3
C
264mm
C
D
3
7 2
m
5m
62
1558mm
B
7
6 1 A
m
5m
62
2183.58mm
1
1 A
openings:
maintenance:
C C
D
inside space person
B
2184mm
maintenance:
2183.58mm
62
B
F
4
5
F
1
6
2
7
3
8
F
4
5
6
7
openings: e.g. on the 1. top for the observations 2. bottom for the tripod
8
base:
base:
stable (wind) extremely weather conditions resistant
semistable (wind) extremely weather conditions is not useable transportation:
transportation: 1
possible but with a truck
not
easy
e.g.
2
3
4
5
6
7
8
easy, like a tent
A
A
hybrid structure B
B
C
C
D
D
1
2
3
4
5
6
A
E
size: the structure can expand in order to create enough space for a person
Dept.
Technical reference
B
Created by
Approved by
Document type
Document status
Title
DWG No.
Dafni Georgoula 28/02/2018
STRUCTURE
reconfigurable frames: change size and direction F
F Rev.
Date of issue
Sheet
C
1
2
3
7
E
4
5
6
7
8
1/1
skin: folding patterns D
components of the skin: can be rigid or flexible E
Dept.
Technical reference
Created by
Approved by
Document type
Document status
Title
DWG No.
Dafni Georgoula 07/03/2018
model preparation
F
Rev.
1
2
3
4
5
6
7
Date of issue
plywood model
initial design
Stewarts Platform
-originally designed in 1965 as a flight simulator -commonly used for position control
two platforms connected with 6 linear actuators placed in a way that the top platform can move with 6 degrees of freedom (6 axis)
-pitch -roll -yaw
2 different methods: lengths as a function of position position as a function of the six lengths
http://www.instructables.com/id/Stewart-Platform/ https://cdn.instructables.com/ORIG/FFK/LAIV/I55MRG6M/FFKLAIVI55MRG6M.pdf
-x (lateral) -y (longitudinal) -z(vertical)
joint exploration (lateral) xballsocket
(longitudinal) y(vertical) zcustomize the ball - socket joints (from fusion 360 gallery) in order to rotate more than 90 degrees
https://gallery.autodesk.com/fusion360/projects/22374/ parametric-adjustable-ball-socket-for-3d-printing?searched=
universal -offset bespoke
universal -offset bespoke
universal customize the universal joints (from fusion 360 gallery) in order to be mounted to the stewarts platform base https://gallery.autodesk.com/fusion360/projects/21681/ universal-joint?searched=
ball- socket bespoke
fabrication first step: test the geometry
- frames: timber - manual cutting at the chopsaw - joints: pla - 3d printing - actuators: fabricate them
second step: test the final materials
- frames: still to be developed - joints: eg. steel - cnc - actuators: linear actuators
third step: test the final materials at the design
1
6
2
2
7
7
3
3
8
8
4
4
9
9
A
5
A-A (1:5) 5
B
C
D
E
F
G
H
A
6
7
2
11
3
12
A
10
7
1
6
1
10
2
11
3
12
0mm
A
B
C
D
E
F
G
H
1
A
A
extension of the legs 6
A
B
C
D
E
F
G
H
8
8
4
4
9
A-A (1:5)
9
5
5
A
A
10
A
B
C
D
E
F
G
H
10
6
6
1
1
11
11
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7
2
2
12
12
8
8
3
A
B
C
D
E
F
G
H
3
9
9
4
4
A-A (1:5)
random
5
5
200 mm
4
4
5
A
5
A 10
10
11
11
6
6
12
12
7
7
A
B
C
D
E
F
G
H
8
8
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A-A (1:5)
9
10
10
11
11
back legs - max front legs - min
3
3
configuration
12
12
A
B
C
D
E
F
G
H
actuation In matlab- simulink - simmechanics: in order to actually actuate the stewarts platform and all its extra mechanisms we need to specify the design of our system, through diagrams that display how our system might work, we need to test it before we implement any pieces of our design, to analyse and optimize it in a desktop environment and simulate it, in order to get results before the production. After that we need to link all the requirements into the simulink model (virtual verification and validation).
step 1: build the plant model in simulink/simmechanics - using the predefined libraries, which consists of plant model 1. top plate 2. base plate 3. 6 legs connecting the top plate with the base (subsystem)
each leg (subsystem) contains: I. 2 bodies connected together with a cylindrical joint II. the upper body connects to the top mobile plate using a universal joint III. the lower body connects to the base plate using another universal
2
1
3
leg (subsystem)
III
A
I
III C
II
B
I
A. define attachment points relative to world B. sensing the length of the leg in order to extract position and velocity as outputs (for the controller) C. move the legs through an external force as an input
Reference: The MathWorks - MATLAB Digest September 2002, Volume 10, number 5 Creating a Stewart Platform Model Using SimMechanics, by Natalie Smith and Jeff Wendlandt
step 2: Define the specific geometry, in its initial configuration and the dynamic parameters for the stewarts platform. These variable definitions will be written in a basic matlab script and referenced in the dialog boxes of the blocks that we use to build the simmechanics model.
1
1. first we define basic angular unit conventions and axes 2. then we define the connection points on the base and top plate with respect to the world frame of reference 3. then we calculate the inertia and mass for the top/bottom plate and legs
step 3:
2 Example by Natalie Smith and Jeff Wendlandt
build the controller, using inverse kinematics - specify the desired trajectory of the top plate in both position and orientation - the controller consists of two sections: I. the leg trajectory II. the controller
II
I
3 step 4: simulate and visualize the model
final design define the primary geometry
Theatre of
Theatre of Consequential Making
III
Consequential Making
introduction Theatre a
of
group
Consequential
project
with
Making
Mariya
Li,
is an
experiment, a dialogue between surrealism and Design for Manufacture. Theatre of Consequential Making conceived
within
a
thesis
research
and
found substance in the BMade workshop, of Bartlett School of Architecture, in Here East.
Image 1: Initial Stage of the Made Sketch Image 2: Last Stage of the Made Sketch
JEAN TINGUELY
consequential making
HOMAGE TO NEW YORK, 1960
self destructive machive drawing on a paper make the first metamatic machine combine found objects make the structure with steel tubes collect old bicycle wheels assembly all the parts test each piece separately search for specific junk
influences COOP HIMMELBLAU
GRONINGEN MUSEUM EAST PAVILION, 1993 -1994
ways to view from all different angles, section study solid, liquid
Psychogram
break the solid layering of the drawing unfolding the shell domly find shapes
of
the
volumes,
ran-
make the digital file Simultaneity of systems
Modeling
surrealism automatism
the dissolving of the space, where the space ends, architecture begins
timeline PART 1 Experimentations: Automatic Surrealist Making PART 2 made sketch
LA YE RS
M
AK IN THE CONSEQUEN G. CE OF S N .. IO OF T A U T L E M N E T H R S I OF A REQU E FOR V HE M
9. INTUITIVL
ER LAYERS ER RM FO
T EE M
OF
REQUIREM EN THE TS
CONSEQU THE EN CE S
E TH
S CE EN
O F
5. NEXT LAYER O F M A KI NG ... .
T
EV AL U
ET ME
6.
M A K IN
.. .. G
OP ST
ON TI A
DECIDE TO
4.
E
T
R YE LA
OF
ING MAK
Negotiation & Exchange
FI RS
PART 3
THROUGH PRAXIS RY EO TH
EV
NEXT LAYER 7. OF
Y
ERS OF MAKING LAY
8.
THE C N OF ON TIO SE UA QU AL
3. NEXT L AYE R O F
TH
ER RM FO
S OF MAKING YER LA
O F
H UG RO
ER RM FO
LA YE RS ...
-
T EE M
RME R
E TH
.
U REQ
E TH
SM TI A
1. SU RRE AL ISM T H E F O C O NSE TION AU A Q U UE TO AL NC V E ES M . T S N OF FO 2 IREME
made sketch
The initial idea for the made sketch
thing could slide in. Simultaneously,
was
ma-
the circle, with its centricity, seemed
chine, a mechanism that depends on
that it would be better perceived if
the
uplifted at the height of the eyes. To
to
create
a
simultaneous
wires,
connected
kinetic motion in
wave of
such
several
way
that
their endings imitate a wave move-
accomplish
that
the
entire
structure
had to be raised about half a meter.
ment. (Art et al., 2018) By
combining
these
two
guidelines,
rectangular
frame
with
half-me-
The first step was to make the circle.
a
The available materials and machines
ter height was positioned inside the T
in the workshop suggested to roll a
shape base of the circle. The conse-
box section of metal, using the roll-
quence of this layer of making was
ing machine and afterwards, weld the
that the piece was no longer stable;
connection point. The next step was
it required some horizontal elements
to find a way to position the circle in
to support the additional weight. As
space. From the found metal pieces,
a result at this point, the piece was
one in T shape seemed the most ap-
no
propriate to fit. Due to its shape and
placement of wheels on the bottom of
weight,
hold
the piece was essential to be able to
the circle vertical in space. The con-
move daily in and out of the work-
nection of the two pieces conducted
shop.
the new layer of making that would
last layer of making to express that
suggest the subsequent moves. As the
the circle was the main character in
new layer caused new intentions, the
its performativity. A ratchet mecha-
initial idea of the wave machine was
nism was positioned at the centre of
less relevant at this point. Specifical-
the circle, making it the basic ele-
ly, the scrap from the recycling bin,
ments of the entire composition. This
with its geometry seemed incomplete,
layer of making required more preci-
the rectangular sections on the sides
sion that couldn't be achieved in the
created a path, a way that some-
framework of the Made Sketch.
the
piece
was
able
to
longer
The
easily
made
transportable.
sketch,
The
required
a
text from the thesis: 'Theatre of Consequential Making, an engagement between Surrealism and Design for Manufacture'
MA ACHINE TRIGGER: KINETIC WAVE MACHINE LAYER 1 : CIRCLE METHODOLOGY: BEND AND WELD AIM: POSITION THE PIECE IN SPACE CONSEQUENCE: FOUND OBJECT
LAYER 2: CIRCE AND T BASE METHODOLOGY: WELD AIM: INTUITIVLY ADD NEW PARTS CONSEQUENCE: INTUITIVELY RECOGNISE ELEMENTS: LINEARITY/ CENTRICITY
LAYER 4: CIRCLE, T BASE, SLIDING FRAME AND STRUCTURE METHODOLIGY: WELD AIM: STABILITY CONSEQUENCE: HIGHLIGHT THE PROTAGONIST ELEMENTS: MAIN FOCUS
LAYER 3:
CIRCLE, T BASE AND SLIDING FRAME
METHODOLOGY: WELD AIM: LINEAR MOTION AT THE T BASE/ CENTER OF THE CIRCLE AT THE HEIGHT OF THE EYES CONSEQUENCE: UNSTABLE ELEMENTS: VERTICALITY
LAYER 5: CIRCLE, T BASE, SLIDING FRAME, STRUCTURE AND RATCHET METHODOLIGY: WELD AND LATHE AIM: HIGHLIGHT THE PROTAGONIST CONSEQUENCE: COMPLETION ELEMENTS: MECHANICAL MOTION
digital drawings
1730mm
1200mm
1000mm
SIDE VIEW
TOP VIEW
STRUCTURE
RATCHET
CIRCLE
CHAIR
FRAME
TRUMPET
A A
FRONT VIEW
A
DETAIL A (1:1)
B
SECTION A-A
DETAIL B(1:1)
When
the
Made
Sketch
was
com-
in 3 mm steel and to lathe the
plete, all its elements were measured
circular
and transfered to fusion 360. In the
in position. The entire mechanism
software the evaluation of the made
required the combination of ready-
sketch was more precise and the de-
made
sign quality was examined.
ings and shafts with the essential
Particularly was
the
examined
functionality odology.
The
and
ratchet for
its
mechanism mechanical
fabrication
central
points
methof
the
joints were designed and the linkages were tested. The materials and fabrication techniques that were decided, was to waterjet the ratchet surfaces
text from the thesis: 'Theatre of Consequential Making, an engagement between Surrealism and Design for Manufacture'
tube
parts,
that
such
will
as
hold
ball
them
bear-
bespoke parts that will hold each part
of
The
first
with
the
mild
mechanism
iteration steel,
was
the
in
place.
conducted
hardness
of
the steel during the lathe and the weight
of
the
entire
composition
suggested the next iteration to be made from aluminium.
mechanical joints
Ratchet
Mechanism
Bearing Collar
Sliding Mechanism
digital drawing COLLAR ALLUMINIUM BAR 5Omm (LATHE)
BOLTS M5 LENGTH 25mm
SURFACES STEEL 3mm (WATER JET)
SHAFTS IRON STEEL ROD 8mm
fabrication manufacturing
assemblyÏ…
370mm
20mm
FRONT VIEW
SIDE VIEW
digital drawing BEARINGS STEEL I.D. 8mm O.D. 22mm RACE WIDTH 8mm SHAFTS IRON STEEL ROD 8mm
ALLUMINIUM 55MM SHEET (CNC MILLING)
120mm
25mm
81mm
digital fabrication
spinning
Spinnng Sound Paths
IV
sound paths
introduction Spinning sound paths explored processes of bespoke tool-making with wooden moulds used to spinning horn-shaped components from circular blanks. The spinning moulds were made by CNC milling. A collection of these components were brazed together to make horn shaped ends that were connected by tubing formed through bending and tube expansion processes. Although the spinning process leads to initial work-hardening of the metal which makes it prone to tearing, heat annealing has been applied to soften the metal sufficiently to allow further spinning that achieves the desired form. The process of forming required developing tacit knowledge of the metal hardening process, this was acquired through testing a range of forming materials including mild steel, aluminium and copper. Copper was finally selected for its malleability and finish.
workflow Focus
Processes initial bespoke tools
material testing
specific bespoke tools
metal spinning
°
annealing scanning
brazing
assembly
tube bending
tube hydroforming
Bespoke Tools Material Testing Metal Spinning Annealing Metal Spinning
tube expanding
Tube Bending Tube Expanding Tube Hydroforming
Brazing 3d Scanning Metal Spinning
timeline Concept
Performance
Associative Painting
Made Painting
metal spinning In metal spinning, spin forming or metal turning, a disc or tube of metal is rotated and formed into an axially symmetric part, by applying pressure from the side with a tool. The tool in metal spinning is generally made from steel. The mandrel, the mould that is shaping the final geometry of the formed sheet metal, in some cases may be made of wood. The quality of the final formed part requires skill and experience from the operator.
Set up at the wooden lathe in BMade workshop in Gordon Street.
lathe steady rest
rotating spindle
wooden back-up support
mandrel
blank
hand tool or pressing tool
friction block
tail stock
focus
initial set up
Bespoke tool: turned on the metal lathe from birch plywood, the profiles were cut at the laser cutter and after, they were laminated together with a alluminium mandrel, that was turned at the lathe.
Initial spinning tests with steel sheet 1mm
manufacturing
process diagram initial bespoke tools
material testing
specific bespoke tools
metal spinning
°
annealing scanning
brazing
assembly
tube bending
tube hydroforming
tube expanding
initial exploration Alluminium & Birch Ply steel mild steel
Alluminium & Birch Ply steel mild steel
bespoke tools
laser cut the profiles from birch ply 6mm
laminated stock
alluminum mandrel
cut the stock from ash wood
tool making
process
metal sheet
material testing With the initial set up, multiple materials and thicknesses were tested and the with the available machine in the workshop, a metal lathe, copper 1mm thickness was chosen as the most equivalent material, in terms of performance and value.
processes
metal spinning Metal spinning on a metal lathe machine was challenging. The constraint on the motion of the pressing tool, that moved from the x and y axis affected the forming, as the operator couldn't feel the materials' resistand, but at the same time offered force. Experimentations on the wood lathe with a resting bar, that of-
fered free motion of the pressing tool, proved more challenging, as they required different kind of expertize, that in this short period of time couldn't be achieved. The introduction of the annealing, in the middle of the spinning process, changed completely the results of the process, as the material after the heat treatment became more workable. The success in the metal spinning process is a combination of material, machinery and expertize of the operator.
metal sheet
annealing
By annealing, as a heat treatment, copper becomes more workable by increasing its ductility and reducing its hardness. It requires heating the material above its recrystallization temperature, for a specific amount of time. In copper this temperature is 650°C for 10 minutes. Copper, while cooling, recrystallizes.
processes
tube expanding
metal tube
tube hydroforming
cnc stops, rubber seal
round stops from metal that can be brazed, silversoldered or welded on the copper tube
processes
with
tube bending
metal tube process
metal joining processes br az i n g
mount the com ponents and apply flux
s ilve r s o ld e r in g
copper we ld in g
join the compo nents by brazing
clean the assembly from the flux
metal joining processes
creaform
3d scanning
Surrealism in DFM What could be the engagement between Surrealism and Design for Manufacture? During the effort to answer this question, a design methodology was deveoped that served the purpose of the intuition, unconsious thoughts and memories triggered the designer to find the way to make the imaginary images that derive from their unconsiouss. Investigation at the two sides of the human brain, the left that is serving the consiousness, is responsible for the inhibition, verbal thoughts and memories, and the right that is serving the unconciousness, is responsible for the emotional an visual memory.
CONSCIOUSNESS TS & OUGH
INH
Y
R MO
AL TH
VERB
IBI T
ME ION
SSENSUOICSNOCNU
YR LAUSIV& OM LA EM NOITOME
right side
left side
concept
associations
unconsciousness associated paintings - forms and textures
The first painting was inspired by the form of the human brain with figures inspired from the cerebral lobes, forming human bodies. The next painting isnpired from the previous is forming a composition of trumpet shaped horns connected with tubes, that follow the tangled paths of the brain. The last painting, later is traced and transformed to a 3 dimensional design in order to be manufactured.
paintings
assembly