POIESIS
Daniel Pound
Poiesis ‘The act of making or producing something specific’
Contents
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Introduction
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Dance in Leeds
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Ballet Analysis - Motion in Ballet - Data Capture - Data Analysis - Creating Forms
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Site Analysis - Site Pictures - Circulation - Solar Analysis Concept Development - Concepts - Route development
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Structural Options - Structural systems
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Fabrication Process - Design Process - Fabrication stages - 1:10 Model - 1:2 Model
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Final Images - 1:100 Model - Renders
Introduction
Dance In Leeds With Leeds bidding for the European City of Culture 2023, our project proposes that we develop a fabrication system that responds to the cultural and environmental influences within Leeds. With a given category of dance, the following work will look at and analyse the process of dance and develop a fabrication system that responds the investigation.
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Dancing in Leeds The dance scene in Leeds is concentrated towards the East of the city with many well established companies such as Northern Ballet and Phoenix Dance being the leading groups. Whilst all types of dance are catered for by the various organisations, ballet is one of the more well established forms of dance in Leeds. Working with the Grand Theatre, Northern Ballet regularly showcase classics such as the Nut Cracker along with other original performances. Moving forward, my research will focus on ballet, looking in particular at the motion with a very strict dance form.
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Motion in Ballet : Precedents
Esprit de corps, Jesus Chapa-Malacara For years many artists and photographers have attempted to capture the movement in dance in a visual form. Through the use of time-lapse and long exposures, artists such as Jesus Chapa-Malacara have managed to create images such as the ones shown to illustrate the movement within ballet. These images capture the movement in the dance, where the dancer has been, and the motion of their limbs. These pictures and movements create interesting forms but are limited through the two dimensionality of a flat image. This fails to capture the full motion in three dimensions as the dance is intended.
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Jesus Chapa - Malacara
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Recording Motion in Ballet In order to capture the motion of the ballet dancer in three dimensions, a kinect motion sensor will be used to track their skeletal frame. The process will record the skeletal frame and the point of major joins in the three dimensional data scape. The image on the right show stills from a video recording of the data capture process, showing their movement in two dimensions.
The dancers movement will be recorded through the tracking of their skeleton
These movements will be recorded every 1/100th of a second giving a build up of frames.
These frames can then be analysed to further understand the motion in the dance.
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Move 1 : Five Basic Positions The five basic positions is a static ballet move that mainly consist of movement of the arms to occupy the five positions. The diagram below highlights a selection of key frames from the recorded data. These frames highlight the amount of movement within the dance
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Analysing the data
1 - Skeletal frames are spaced out along a line
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2 - Flows lines are added between control points to understand the movement of arms, legs and head.
3 - Curves are used to join the control points together to establish a smooth profile of the movement.
4 - A lofted surface is created from the profile curves. This creates a three dimensional surface that represents the movement within the dance.
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Move 2 : Plie Like the five basic positions, a plie is a static move that involves the crouching of the dancer. This changes the profile from a tall upright position to a low and wide profile. The diagram below highlights a selection of key frames from the recorded data. These frames highlight the amount of movement within the dance
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Analysing the data
1 - Skeletal frames are spaced out along a line
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2 - Flows lines are added between control points to understand the movement of arms, legs and head.
3 - Curves are used to join the control points together to establish a smooth profile of the movement.
4 - A lofted surface is created from the profile curves. This creates a three dimensional surface that represents the movement within the dance.
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Move 3 : Pirouette The pirouette is the first of the moves to involve a greater amount of movement. This can be performed on the spot or whilst moving. The diagram below highlights a selection of key frames from the recorded data. These frames highlight the amount of movement within the dance
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Analysing the data
1 - Skeletal frames are spaced out along a line
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2 - Flows lines are added between control points to understand the movement of arms, legs and head.
3 - Curves are used to join the control points together to establish a smooth profile of the movement.
4 - A lofted surface is created from the profile curves. This creates a three dimensional surface that represents the movement within the dance.
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Move 4 : Leap Of the five moves chosen, the leap is contains the most lateral movement, although the profiles of the dance do not suggest so. The diagram below highlights a selection of key frames from the recorded data. These frames highlight the amount of movement within the dance
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Analysing the data
1 - Skeletal frames are spaced out along a line
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2 - Flows lines are added between control points to understand the movement of arms, legs and head.
3 - Curves are used to join the control points together to establish a smooth profile of the movement.
4 - A lofted surface is created from the profile curves. This creates a three dimensional surface that represents the movement within the dance.
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Move 5 : Arabesque Like the five basic positions, Arabesque ballet involves the movement of the arms and leg whilst remaining in a single position. This creates a large range of movement from the arms as highlighted in the image on the left. The diagram below highlights a selection of key frames from the recorded data. These frames highlight the amount of movement within the dance
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Analysing the data
1 - Skeletal frames are spaced out along a line
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2 - Flows lines are added between control points to understand the movement of arms, legs and head.
3 - Curves are used to join the control points together to establish a smooth profile of the movement.
4 - A lofted surface is created from the profile curves. This creates a three dimensional surface that represents the movement within the dance.
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Ballet Analysis: Profiles One of the interesting observations from the data analysing process was understanding how the profile of the dancer changes throughout the move, but it is not always seen front on. The following models explore how the profiles of the dancers can be manipulated to create an interesting experience, allowing the users to explore the dance.
1 - The first of the profiles utilises as smooth curves connecting the vital points. This creates an aesthetically pleasing profile but doesn’t provide detail on the specific points
2 - This option joins the chosen points using straight lines, allowing the points to be recognised easily. This however does not allow the viewer to imagine a smooth transition between the frames.
2 - The final option involves taking the skeleton and applying a ‘cookie cutter’ attitude to expressing the frame. This however, takes all the fluidity of movement out of the idea.
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Ballet Analysis: Tunnel Prints Looking at the frames of the dancing was still dealing with the data in a two dimensional method. The profiles were essentially two dimensional analysis spaced out in three dimensions. Therefore, the next step looked at producing 3D physical models of the lofted surfaces created from the data. These forms were created as hollow tunnels using a 3D printer. This allowed the models to show the fluid motion, that was captured during the recording process, in a method that would otherwise be impossible.
1 - Arabesque
2 - Plie
4 - Five basic positions
5 - Leap
3 - Pirouette
Looking at the models and the space inside them, the motion within the dance is well represented both inside and out. These forms could be used to create a user experience that allows them to travel through the tunnels.
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Ballet Analysis: Tunnel Prints Intersections The models and options up to now focus on a single dancer and move. The tunnel forms allow us to explore the potential of dance paths crossing and merging. The following models are of different moves intersecting. These create a interesting junction where opposite profiles meet. Including these intersection within the design process would add an extra level of detail and complexity, whilst also creating interesting forms.
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Site Analysis: Location
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City Centre Bus Station
York Road
Fearn Island
Crown P oint Roa
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Train Station
Leeds Dock Royal Armouries
Hunslet 35
Site Analysis: Site Photographs
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Site Analysis: Climate
The diagrams below highlight how Leeds generally consists of mild wet summers and cold winters. The south westerly prevailing winds emphasise a climate that is largely influenced by the Atlantic ocean. Average monthly temperatures
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Site Analysis: Solar Study The solar study shows us that the site is fairly open in terms of exposure to the site. This means that the site receives sunlight throughout the year from sunrise to sunset. This allows for an open design that can benefit from the natural light throughout the year.
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Site Analysis: Circulation Pedestrian routes Analysing the sites circulation routes highlights the transient nature of the site. The main activity on the site come in the form of pedestrians travelling between the city centre and Leeds dock residences. Any designs would be best suited to engaging the transient population that pass through the area.
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Boats
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Site Analysis: Flooding Sitting on the River Aire, one of the main constraints on the site is the water levels during flooding. The main part of the site, Fearn Island, is classed as the active flood plain for the river and regularly floods by 1m during periods of heavy rainfall. The images below show the site during the floods of December 2015 when the water level increased by 2 meters. This highlights the need to consider the flood risk to the site and elevate any installations to prevent damage from the potential flood waters.
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Concept Development After looking at the information gathered in the data analysis stage and the influence of the site, it seems that the best option and obvious direction is to develop an exploratory tunnel that allows the users to experience the motion of the ballet. Through orientating the tunnel along the circulation routes, the design should capture the interest of those passing through the site.
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Journey
Participation
Sculpture
By allowing the profile element of the design to be less rigid, the exploratory tunnel should allow for all users to pass through
The installation should aim to encourage the users to replicate the dance movements and educate them about ballet.
Through using the lofted surfaces, the design should portray the motion of ballet both inside and out.
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Path Development
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1 - Single route created connecting ends of main circulation path
2 - Extra exit added to improve flow from east side.
3 - Paths intersecting to create interlocking journeys
4 - Additional section added to increase number of routes possible
5 - Positioning of tunnels moved to sit more above fearn island
6 - Third section elevated over other routes to enhance experience
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System Development The first system option that was investigated was the used of a waffle structure in connection with the profiles from the dance analysis. The profiles would dictate the shape of the structure, with fins running the length of the tunnel to provide bracing, and support the profiles. This would be an open structure that utilised developable surfaces in the design to produce the three dimensionally curved fins.
The changing profile in the design would provide the main structural system whilst also help to guide the users through the dance sequence. Various options of the profile could be explored as shown below.
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The fins would provide the cross members to the waffle structure
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System Development
The second structural option would be to utilise developable surfaces to replicate the forms created from the recorded data. This would create a structure that is more enclosed than the waffle option. This approach would create a tunnel that is more free flowing and less interrupted by the profile curves, allowing for the motion of ballet to be better expressed and experience buy the users.
The developable surface approach would become a scaled up version of the my sculpture for the theoria project, by applying the same principles at a larger scale with different materials.
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Structural Options
Option 1 : Individual Pieces + simplest option + minimal material - high amount of on site work - labour intensive - high level of stress on joints
Option 2 : ‘U’ Modules + modular option + quick on site assembly + easy to transport - doubling material for fins - pressure placed on weld of U-joints
Option 3 : Structural Fins + finger joints provide strength + minimal material + fins provide bracing - needs assembling in large section of site - not modular
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Option 4 : Bolted Pieces + temporary nature + finger joints guide pieces + easy to transport - high amount of on site work - needs to be constructed in sections - pieces may need bending on site
Option 5 : ‘T’ Modules + modular option + quick on site assembly + easy to transport - uneven loading on structure - may require bending on site
Option 6 : Structural Fins + modular system + easy erection on site + all fabrication done off site - double amount of material for fins - large pressure on bolts
From looking at the different structural options available it appears that option six provides the best solution. The modular construction allows for easy erection on site reducing the amount of labour required. The modules will also be easier to transport than larger ring sections.
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Construction Methods Option 1 : Modular Construction
Individual Pieces Fabricated
Pieces transported to site
Using a modular construction method would allow for a quicker assembly process. The pieces could be fabricated either on site as required by robots, or off site in a factory before being transported to site when required. By creating the pieces in two metre lengths, each section will be able to be fabricated from standard materials and without the need for large scale machinery. The smaller pieces will also be easier to handle and transport on difficult site.
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Pieces Bolted together in turn
Completed Structure
Option 2 : Sectional Construction
Individual Pieces Fabricated
Larger section assembled in factory
Large Pieces Shipped to site
Sections assembled on site
Completed Structure
Creating the structure from large sections and piecing together on site would be logistically difficult. The large nature of the sections would make transporting them to site harder. In addition accessing the isolated island area with minimal storage space would working with the larger sections more complex.
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Fabrication Methods Option 1 : Off-Site Fabrication
Flat sheet materials delivered to factory
Individual modules fabricated
+ factory environment already established + lower set-up cost + larger work space
Modules stored until needed
- increased number of journeys/ transportations required to move individual modules - modules will arrive to site in large batches - need to work to strict programme to ensure a smooth flow between delivery and assembly
Modules delivered to site on lorry
Pieces assembled
Fabricating the pieces off-site would allow for a greater control of quality in a factory environment. The pieces could also be made in advance to ensure the assembly schedule is met. However, the main draw back of this method is the transportation off the fabricated modules to site.
Option 2 : On-Site Fabrication
Robots and machinery transported to site + only requires delivery of flat sheets and fabrication machinery + flexibility in programme as pieces can be fabricated to a ‘just-in-time’ process + any damaged modules can be re-fabricated on site without long lead-in time + reduces need for on-site storage
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Flat sheet materials delivered to site
Individual modules fabricated in turn
- higher set up cost establishing a fabrication area - less space available than in a factory - pieces can not be produced in advance due to storage needs
Pieces assembled
In this situation an on-site fabrication process would be employed due to the quantity of modules that are being produced. This would eradicate the need for transporting the fabricated modules to site, negating the higher set up cost associated with the on-site fabrication.
Robotic Fabrication : Module assembly
The fabrication process would utilise the developments in robotic fabrication as a means of creating the modules. This process would allow for the modules to be fabricated faster and more accurate than manual human labour. The stages of robotic fabrication would be as follows: 1 : Individual pieces are CNC water cut out of flat sheets of 6mm stainless steel 2: Individual pieces are positioned and bent into place. 3: Positioned pieces are welded along the joints to create the modules.
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Construction Sequence The following sequence looks at the process taken to prepare the pieces ready for manufacturing. This follows the process for the 1:10 scale model that was produced, although the same steps are taken for full scale manufacturing.
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1 - The profile curves are orientated along a guide curve and equally spaced out.
2 - A surface is created by lofting the guide curves
3 - The surface is split into 20 developable surface strips running the length of the tunnel
4 - Fins are added to the design running along the joints of the developable surface.
5 - The strips are divided into 2000mm lengths in an offset pattern to allow for fabrication.
6 - Finger joints are added to the surface pieces to provide strength and aid positioning.
7 - Slots were added to the fins to allow for alignment and a strong joint.
8 - The pieces are unrolled ready for the cutting process
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Fabrication Process : 1:10 Model
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This model allowed for the design and fabrication process to be tested at a small scale for any potential problems.
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The pieces were then assembled together into the ‘H’ sections welding the joints using a soldering iron. The pieces were then added to the structure individually, bolting onto the adjacent piece
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Following the digital design stage of the process, the next step is fabrication. The unrolled pieces were laser cut out of 0.8mm polypropylene.
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Fabrication Process : 1:2 Model
The images above show how the fabrication process used in the 1:10 model was replicated at a larger scale. Working at 1:2 scale, the mdf model aims to show the joining techniques that would be used to assemble the structure using bolts. The rigidity of the mdf also highlights the problem of not machining the pieces using a multi axis router. Whilst the pieces fit in the finger joints, the orthogonal cut slots result in twisting of pieces as the plates attempt to join at 90 degree angles.
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1:100 scale model
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1:100 scale model
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View from crown point bridge
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Systematic build-up
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View from royal armouries
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Night view from crown point bridge
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Interior - Night
Interior - day
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View from tow path
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View from canal
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Plan view
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1:10 Sections
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Daniel Pound Leeds
33321749 School Of Architecture