DfM Porfolio

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

7

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

9

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