BARTLETT SCHOOL OF ARCHITECTURE GRADUATE ARCHITECTURAL DESIGN RC 9 2019-2020
BARTLETT SCHOOL OF ARCHITECTURE GRADUATE ARCHITECTURAL DESIGN RC 9 2019-2020 Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
CONTENTS 1.INTRODUCTION
2.MATERIAL STUDIES
Project Synopsis
8-9
Diagram of ceARamics process
10-11
Case Studies Sub-C
Structural slip
Inspirational content
Types of clay Terracotta
Stoneware slip clay
Stoneware slip clay and paper pulp
12-13
Density and pattern explorations
14-15 16-17
28-29 30-31 32-35 36-37
Overview Clay
Weaving Geometry studies Concept design
18-19 20-21 22-23 24-25
3.CLAY ON ROPE APPLICATIONS Method 01
2D Frame with nails Physical models
42-43 44-47
Core node
Removing the metal sticks Physical model
Method 02
3d Frame with nails
50-51
Physical models
52-57
Digital exploration
Method 05
Method 04
58-59
Method 03
3d Frame
62-63
Physical model
64-65
Design studies
Components Walls
Column
Improving the edges
68-69 70-71 72-73
Edge nodes AR process
Physical model
Method comparisons
74-75 76-77 78-79 80-81
Design studies
Component 1 Component 2
Pattern exploration on walls and columns Pattern evaluation
4.INITIAL DESIGN STUDIES Component evaluation
118-119
Wall explorations
142-147
Catalogues of components
120-135
Column explorations
148-153
Density Diagrams
136-139
Architectural elements
Structural Analysis
140-141
Furniture Elements 3D Structure
154-155 156-159
84-85 86-89 90-91 92-93 94-99
100-105 106-113 114-115
5.DIGITAL DEVELOPMENTS
6.DIGITAL CRAFTSMANSHIP
Design Studies
Computer Vision
Exploring layers and densities
162-163
Wall Explorations
164-165
Physical models - Porosity & Sizes Porosity Diagrams
Structural Application
Architectural Proposal
166-167 168-169 170-171 172-175
Generative Process (I)
Initial Algorithmic Studies Type V & T
176-177
Catalogue of Aggregations
178-179
Facade Development
180-185
7.ceARamics APPLICATION
Density Control Generating Parts
238-239 240-244 242-243 254-245
Weaving Styles & Glazing
246-247
Cearamics-Make Equipment for assembly
Component assembly Weaving process
Construction site
Style Recognition Diagram
Method 01-Tracking
Method 02-Drawing
190-191 192-193 194-197
Weaving Style Catalogues
198-233
Comparison of styles on Aggregations
234-235
Generative Process (II)
Replacing with clay
Outline
Weaving Style Recognition
8.ALGORITHMIC IMPLEMENTATION
Cearamics-Design Outline
188-189
248-249 250-251 252-255 256-257 258-261
Type 01: L-Combination research
Type 02: S-Combination research Type 01:L & Type 02:S
Type 01:L, Type 02:S, Type 03: V, Type 04:T Results
264-267 268-269 270-271 272-273 274-277
Facades
Option 1
Option 2 Option 3
280-285 288-289 292-297
1.INTRODUCTION PROJECT SYNOPSIS DIAGRAM OF CEARAMICS PROCESS CASE STUDIES Sub-c
Structural slip Inspirational content OVERVIEW Clay
Weaving Geometry studies
INTRODUCTION Project Synopsis
CeARamics questions traditional ceramic making methods (i.e pinching, coil, slab, wheel), proposing a system of sticks and weaved rope that act as a substructure to which clay is applied. This allows for mass customization of components and the creation of intricate geometries of varying densities, which are typically limited by traditional ceramic forming processes and the material itself. The system argues for an AR assisted crafting process which is not limited to only high skilled workers. An augmented reality app is developed, which is divided into two parts. Firstly, the design part of the app is to be used specifically by designers and secondly, the make part of the app is dedicated to fabrication and can be used by anyone. In the design section of the app the designer/architect can import a volume, control specific data inputs, generate clay parts, choose among weaving styles and control the overall density. When the process is finished, a request for fabricating one’s design can be made. This takes us to the make section of the app, in which users are able to implement the clay components by following simple holographic instructions. The whole idea of the ceARamics app is based on distributed manufacturing, by enabling users with only the use of their phones and 3d printed nodes (which are delivered to them) to fabricate without the use of expensive gadgets. The process is multidisciplinary and expands the production chain allowing for a fully democratized manufacturing process which is enabled through AR technology. Our main proposal for the application of this system in architecture are ceramic building facades. Although ceramic facades exist today and their benefits are well known (i.e weather resistancy, low-maintenance, natural recycable material) they are limiting in terms of form and volume. Therefore, we introduce a system that can produce volumes and elevations defined by their complexity and plasticity, which is possible due to the innovative method of ceramic making that is proposed by this project.
8
Traditional ceramic making
ceARamics physical models
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|9
INTRODUCTION
Diagram of ceARamics process
10
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|11
INTRODUCTION Case studies/Sub-C
In this project, the students used an internal 3D printed structure which they then dipped in clay to stregthen and solidify it. Their geometries were based on lattice systems which gave them many opportunities in terms of density and porosity. These specific features of the internal material created really interesting effects when the clay attached to it. From this project, we are inspired by the idea of having an internal structure that according to it’s design and form, influences the clay’s final shape.
12
THE BARTLETT SCHOOL OF ARCHITECTURE RC1 2018-2019 Project by: Xinglu He, Wenxuan Lin, Aleksanda Jelisejeva, Jiakang Li
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|13
INTRODUCTION
Case studies/Structural Slip In this project, the students created a system of elements that could be combined together in different ways to create a variation of components. These components could afterwards be combined to create structures of different types such as walls, pavilions or building facades. This projects inspires us in terms of assembly and structure development.
14
THE BARTLETT SCHOOL OF ARCHITECTURE RC5/6 2017-2018 Project by: Vittoria Fusco, Banni Liang, Dan Liang, Mingyu Wei
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|15
INTRODUCTION
Case studies/Inspirational content In the following examples rope was used as a structural element that creates form and texture. This inspired us and made us think that it could possibly be used as an internal-base material for our project. We have also added some examples that display porosity and organity in their shape, which is an effect we aim for clay to have after being applied to our structures. Lastly, in the bottom left corner we see an example of component population that creates an interesting form of structure, which is something that we would also like to achieve with our elements.
Screenplay, https://www.archdaily.com/163278/designbymany-community-award-winners-sasadjak-milica-vujovic/
Polyomino II, https://www.plethora-project.com/polyomino-ii/
16
https://thefunambulist.net/arts/fine-arts-abhominal-by-jason-hopkins
3D CNC milled maple wood
Thames, http://www.jordiraga.com/indoor/vc-
Interwoven Vessel, https://www.elizabethshriv-
zzxvnn0i14pnasjt0hwfrbwddc86
erceramics.com/
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|17
INTRODUCTION Overview/Clay
In these photos it is illustrated how clay can be used to attach to our structures either by being poured on top of them, either by spraying or by dipping them inside. What was really important throughout this project and a basic factor for our desicions was the fact that clay should be fired in really high temperatures (approximately 1200 ° C) . This would naturally affect our internal structure in terms of how it responds to high temperatures but also what happens to it when the clay-due to the high temperature - will shrink. Therefore, it should definitely be something that doesn’t expland, ideally shrinks together with the clay or evaporates. That is the main reason why we started leaning more towards the idea of using rope and decided to look further into it for our project.
Dipping in clay
18
Placing elements in the kiln
Pouring slip clay
https://www.claymakestudio.com.au/slip-casting-for-beginners-march.html
Spraying our elements
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|19
INTRODUCTION Overview/Weaving
In the beginning of term 1 we experimented with the process of weaving mostly in terms of how to create and manipulate forms and densities. For this project, in order to use rope as our structure we had to be very precise about factors such as material, thickness, heat durability and the emissions it might release when fired. Considering that clay is going to surround our structure meaning that it is then going to be fired, we knew that the internal material should be natural so as to not exhaust any toxic fumes under high temperatures. Thus, the types of rope we worked with were 100% natural jute, hemp and sisal which come in a variety of thicknesses and correspond to the size of the object we are working with.
http://eunhyekang.com/page-mixed -media-04, Work of Eun Hye Kang
Modern Abstract Architectural Wire Iron Sculpture Manner of Roy Gussow
20
Natural hemp rope-different thicknesses
Weaving Architecture - Biennale Venecia
https://llucmiralles.com/filter/venice/Weaving-Architecture-Biennale-Venecia
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|21
INTRODUCTION
Overview/Geometry studies In our design studies we started experimenting with lattice systems made of polyhedrons. The idea is that both single polyhedrons and combinations of them could work as components that can be connected together to create systems like the ones in the examples shown in the photos below, which would allow us to develop different types of architectural elements (walls, slabs, columns, staircases etc.). The main structure of our components would be the edges of the polyhedrons which would then be weaved in between with rope and sprayed afterwards to become solidified.
Best Rapidly-Deployable Shade Structure in the DesignByMany competition, https://www.archdaily.com/163278/designbymany-community-awardwinners-sasa-djak-milica-vujovic/
https://www.pinterest.pt/pin/425590233540834183/
22
Experimental aircraft, https://mathcraft.wonderhowto.com/news/alexandergraham-bells-tetrahedral-obsession-0132433/
https://mathcraft.wonderhowto.com/news/alexander-graham-bells-tetrahedral-obsession-0132433/
https://mathcraft.wonderhowto.com/news/alexander-graham-bells-tetrahedral-obsession-0132433/
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|23
INTRODUCTION
Overview/Concept Design The main concept for our implementation-design strategy would be to explore ways to create structures made of rope, afterwards cover them in clay and in the end fire them. Except of the importance of finding an efficient way to make rope “self supported�, we would also have to work with it in a way that could predict the clay outcome as much as possible. Therefore, we started exploring the different effects of clay on a variety of densities and pattens. This process was crucial for our future design studies.
+
Natural Rope
24
Clay
Creating a form with the assigned rope
Spraying clay
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|25
2.MATERIAL STUDIES TYPES OF CLAY
Terracotta clay
Stoneware slip clay Stoneware slip clay and paper pulp PATTERN AND DENSISTY EXPLORATION Density and pattern explorations
MATERIAL STUDIES Types of Clay/Terracotta
When we began experimenting with materials in the beginning of our project, we tried polymorph as the skeleton for our internal structure, because it was faster than weaving rope. Our main goal during that period was to see what would happen to the clay as it dried, according to its type. We first tried terracotta clay with different proportions of water, which as can be seen in the examples below completely cracked. This lead us to move on to stoneware slip clay.
Clay quantity
Water quantity
Experiment 1
2 + 1/2 cups
Experiment 2
2 cups
Experiment 3 1 + 1/2 cups
Experiment 4
1 cup
Experiment 5
1/2 cup
28
Semi-dry state
Completely dry
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|29
MATERIAL STUDIES
Types of Clay/Stoneware Slip Clay After using terracotta clay we moved on to Stoneware slip clay which is by nature more liquid and doesn’t need the addition of water. We dipped our polymorph pieces several times in the clay but when it dried it also produced cracks - even though fewer than before. This made us believe that this type of clay held possibilities for further explorations.
2D - Basic pattern elements
Experiment 1
Experiment 2
Experiment 3
30
Semi-dry state
Completely dry
3D - Organic elements
Semi-dry state
Completely dry
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|31
MATERIAL STUDIES
Types of Clay/Stoneware Slip Clay and paper pulp As previously mentioned, for this last material exploration we decided to keep the stoneware slip clay as our base material but added paper pulp in the hope of making it more unified in order to produce less cracks. The ratio of clay to paper pulp is 3:1. The next page displays the process of experimenting with the specific material and its attributes and the results were all successful. The natural fibres of paper helped keep everything together and solidified.
Thin paper towel
32
Blending it with water
Draining the water
Draining the water
Adding Stoneware slip clay
Mixing paper with clay
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|33
MATERIAL STUDIES
Types of Clay/Stoneware Slip Clay and paper pulp Looking at the “completely dry� results in this page it can be seen that the clay while drying produced no cracks. In the physical models displayed further on in the presentation we proceeded to use this method successfully.
Dipped once
Experiment 1
Experiment 2
Experiment 3
34
Dipped 8 times
Completely dry
2D basic pattern elements
Dipped once
Dipped 8 times
Completely dry
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|35
MATERIAL STUDIES
Density and pattern explorations Clay spreads differently according to the distances between the lines of the pattern. When the pattern is more dense the result is almost solid as the layers of clay icrease. Also, in more dense patterns it is easier for the clay to attach to the geometry even with less layers of clay applied. On the other hand, when the pattern is more sparse we observed that there is usually a need for applying thicker layers of clay both for attachment and also in order to make the piece strong and rigid.
High Density
Low Density
Mixed Density
36
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|37
3.CLAY ON ROPE APPLICATIONS METHOD 01
2D Frame with nails Physical models
METHOD 02 3D Frame with nails Physical models Digital exploration METHOD 03 3D Frame METHOD 04 Core node Physical model Design studies METHOD 05 Edge nodes Physical model Design studies
METHOD 01
2D FRAME WITH NAILS
CLAY ON ROPE APPLICATIONS Method 01/ 2D Frame with nails
The first method we tried for stabilising the rope in a certain form was to create a two dimensional wooden frame with nails on which we could weave on. After spraying the clay on it we waited until it was almost dry to remove it from its frame. The reason for that was to avoid cracks while the clay dried. As previously mentioned, when clay dries it shrinks. Therefore, the rope which was tense because of the nails naturally wouldn’t shrink with the clay so we had to cut it away beforehand.
Creating a wooden frame
42
Adjusting the nails in the wooden frame
Moving the rope throughout the frame
Developing a certain geometry
Spraying the Clay on the rope
Removing the clay out after it is 80% dry to avoid cracks
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|43
CLAY ON ROPE APPLICATIONS Method 01/Physical Models
Creating a wooden frame and then applying clay on different densities of multiple grids and geometriers to explore the clay formation on different forms and patterns. The aim of this process is to help and guide us undertand the properties of clay in terms of density and porosity.
44
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|45
CLAY ON ROPE APPLICATIONS Method 01/Physical Models
46
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|47
METHOD 02
3D FRAME WITH NAILS
CLAY ON ROPE APPLICATIONS Method 02/3D Frame with nails
In this second attempt we kept the same logic as previously but wanted to extrude our geometries in the third dimension as well. Therefore, we applied taller nails to our frames so that we could start weaving on the z axis. The issue we faced with this process was the removal of the clay component before it was dry. The thickness of our geometry made it hard to pull out, so we had to cut it at the edges, which caused some deformation.
Creating a wooden frame
50
Adjusting the screws in the wooden frame
Moving the rope throughout the frame
Developing a certain geometry
Spraying the Clay on the rope
Removing the clay out after its 80% dry to avoid cracks
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|51
CLAY ON ROPE APPLICATIONS Method 02/Physical Models Process
52
Result - glazed
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|53
CLAY ON ROPE APPLICATIONS Method 02/Physical Models Process
54
Result - glazed
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|55
CLAY ON ROPE APPLICATIONS Method 02/Physical Models
These pages illustrate a first attempt (which we will also see later on) to resolve the problem previously mentioned about having to cut the piece from its frame in order to remove it. We decided to wrap rope around our nails so that the clay wouldn’t penetrate and reach the metal. This allowed us to pull the piece away altogether from the frame, leaving the nails behind.
Process
56
Final piece
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|57
CLAY ON ROPE APPLICATIONS Method 02/Digital Exploration
By studying the previous physical models we were very interested in the effect the layers of rope created when clay was applied. The pieces displayed debth and porosity at the same time. In our first attempt of digital exploration we tried to recreate this layering of clay with each layer showing a different density and thickness.
Component population 01
Rope Movement
Applying Clay
Populating the Component
Glazing the component
Component population 01
58
Rope Movement/creating interlocking pieces
Applying clay
Glazing the component
Component population 02
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|59
METHOD 03
3-DIMENSIONAL FRAME
CLAY ON ROPE APPLICATIONS Method 03/ 3D Frame
With this third method we create an exterior three dimensional frame that supports the interior structure made of rope. All the connecting parts between the exterior frame and the interior structure are made of rope, therefore we don’t face the same problem as before with removing the element when it’s dry. The downside to the process was that it was extremely time consuming.
Creating a 3D wooden frame
62
Creating the bases of our geometry
Creating the main outline of our geometry
Weaving rope around the outline of the shape
Spraying clay on the rope
Removing the clay out after it’s 80% dry to avoid cracks
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|63
CLAY ON ROPE APPLICATIONS Method 03/Physical Models
Proc ess
64
Result - glazed
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|65
METHOD 04
CORE NODE
CLAY ON ROPE APPLICATIONS Method 04/Core node
In order to give three - dimensionality to our pieces a center node was created in which metal sticks are attached. After making the central connection, rope is tied across the ends of the sticks to create the outline-edges of a polyhedron. Finally, we weave around the geometry to develop the final form of our component which is afterwards ready to be sprayed.
Taking metal sticks
Wrapping them with natural rope
The rope will be at a steady point and wrap around the sticks with the help of the movement of the robot hand
68
Adjusting them in a certain geometry
Taking out the piece from the robot
Creating a customized node
Applying clay on the Rope
Rotating the piece using the robot hand
Removing the clay out from the created frame
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|69
CLAY ON ROPE APPLICATIONS Method 04/Removing the metal sticks
As mentioned before, in order for our piece to be able to dry properly we had to find a way to remove the rigid metal sticks before the clay dried completely and shrank. In this method of developing our components, the metal sticks meet at the center node but at their other end they are exposed. Therefore, this allows us to pull them out when the clay is almost dry. In the photos below it is shown how we experimented individually with the sticks to make sure that the process works.
Metal stick wrapped with natural rope
Applying clay on the wrapped rope
Waiting for the clay to dry and pulling out the stick
70
Pulling the metal stick away from the dry clay
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|71
CLAY ON ROPE APPLICATIONS Method 04/Physical Model
Process
72
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|73
CLAY ON ROPE APPLICATIONS Method 04/Design studies/Components
Creating a component using 6 sticks
Clay densities
component 1
component 2
Creating a component using 8 sticks
component 3
74
Clay densities
Component combinations
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|75
CLAY ON ROPE APPLICATIONS Method 04/Design Studies/Walls
For our first component exploration we experimented with a basic grid weaving system of three different densities. In the right page we started exploring the concept of continuous and directional patterns throughout our design studies (walls, columns).
Low Density
Medium Density
High Density
76
Directional patterns patterns Directional
Continuous Continuous patterns patterns
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Tought by Alvaro Lopez and Igor Pantic
|77
CLAY ON ROPE APPLICATIONS Method 04/Design Studies/Column
We continue with the concept of a continuous pattern across our aggregations which is displayed in this column. This is a first attempt to combine densities within an element. We can see that the core of the column is almost solid, whereas the outline of it is more sparse.
78
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Tought by Alvaro Lopez and Igor Pantic
|79
CLAY ON ROPE APPLICATIONS Method 04/Improving the edges
As can be seen from the physical model that was created for this method, as it dried, the edges became curved. The reason for that was that they were made out of rope and therefore weren’t stiff enough to endure the clay shrinkage. Also, when applying several layers of clay it adds up to the total weight of the structure and since the edges were thin they eventually gave in to gravity. Even though the component as a piece was successful we would have to resolve this issue in the future, because having curved edges can definitely not facilitate a smooth assembly of components.
Component skeleton with rope edges
80
Shape of the component before applying clay
Edges after clay application
Physical model - Final result
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|81
METHOD 05
EDGE NODES
CLAY ON ROPE APPLICATIONS Method 05/Edge Nodes
In order to overcome the problem of the curved edges that the previous process entailed, we had to find a way to place the rigid metal sticks on the edges instead of rope. For that reason, we created a new type of nodes that are placed on the corners of our polyhedrons and hold the sticks in place. These nodes are open from both sides, making it possible to pull away the sticks when the clay is dry. The inside of our geometry is now hollow, which allows us in addition to the exterior weaved layers to add layers of weaving on the inside as well.
Metal sticks
84
Wrapping them with natural rope
Using AR to assemble the component
Adjusting the sticks in a 3d geometry
Stabilising it with customized nodes
Applying clay on the rope
Removing the sticks and the nodes
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|85
CLAY ON ROPE APPLICATIONS Method 05/AR process
With the help of AR we want the user to be able to assemble the component fast, even if he hasn’t done the process before. Therefore, through the application the user will be able to see the nodes in the correct position in space and will then be guided as to how to place accurately the sticks that connect everything together.
Positioning the nodes in space
Placing the sticks in the correct order
86
Assembly complete
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|87
CLAY ON ROPE APPLICATIONS Method 05/AR process
After having assembled the component with the nodes and sticks it is time to start weaving. With the creation of zones the user is guided within wich areas to weave, what density and in which directon.
Zone 1
Creating a centerpiece within the component for strength
88
Exterior zones with directionality
Almost complete-each face has a different weaving direction
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|89
CLAY ON ROPE APPLICATIONS Method 05/Physical Model
Process
90
Final result
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|91
CLAY ON ROPE APPLICATIONS
Method 05/Physical Model/Method Comparisons By comparing the two models, the difference of the edges is obvious. Having components with flat-straight edges is vital for the process of connecting-stacking our components to produce larger aggregations.
Method 04 - Curved edges
92
Method 05 - Straight Edges
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|93
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 1 Pattern Catalogues For each component of the previous digital studies we created catalogues of different patterns and densities applied to them. The patterns we experimented with were grid, parallel, fan and a mix of the above.
Parallel Pattern
Grid Pattern
Fan Pattern
94
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|95
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 1 Pattern Catalogues - Removing faces In this catalogue we kept the frame of the component but removed some of the faces to create debth and layering of weaving within the piece. Parallel Pattern
Grid Pattern
Fan Pattern
Mixed Pattern
96
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|97
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 1 Pattern Catalogues - Removing edges In this catalogue we removed both faces and edges from the components in an attempt to change their geometry and give them a different form.
1 Edge
2 Edges
3 Edges
98
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
|99
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 2 Pattern Catalogues
Parallel Pattern
Grid Pattern
Fan Pattern
Mixed Pattern
100
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |101
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 2 Pattern Catalogues - Removing faces
Parallel Pattern
Fan Pattern
Mixed Pattern
102
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |103
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Component 2 Pattern Catalogues - Removing edges
1 Edge
2 Edges
104
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |105
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Pattern exploration on walls and columns In the walls and columns below we started mixing different patterns form the components illustrated in the previous catalogues. The goal was to create areas of different design language and density within the elements.
106
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |107
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Pattern exploration on walls and columns Wall Diagram and model high density selection medium density selection low density selection
108
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |109
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Pattern exploration on walls and columns Column Diagrams high density selection medium density selection low density selection
combination 01
110
combination 02
combination 03
combination 04
combination 05
combination 06
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |111
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Pattern exploration on walls and columns Column explorations
112
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |113
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS
Method 05/Design Studies/Pattern Evaluation From our previous design studies where we combined different types of component patterns and densities on walls and columns we concluded that the result didn’t display the homogeneity we wanted. Our designs lacked cohesion and consistency. Therefore, we had to make a choice regarding the type of pattern we were going to move forward with.
Pattern
Parallel
Fan
Grid
114
Component density
Combination x3
Combination x1
Result: Clear pattern
Result: Big gaps
Result: Discontinuity Result: Unconsistent
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |115
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
4.INITIAL DESIGN STUDIES COMPONENT EVALUATION CATALOGUES OF COMPONENTS DENSITY DIAGRAMS STRUCTURAL ANALYSIS WALL EXPLORATIONS COLUMN EXPLORATIONS ARCHITECTURAL ELEMENTS Furniture Elements 3D Structure
INITIAL DESIGN STUDIES Component Evaluation
The components we first experimented with could only be combined by two of their faces on the x and z axis. We therefore decided to move on to a new set of components (tetrahedron and pentahedron) which provide many more possibilities for combinations that are possible in all 3 axes and can be attached by all of their faces.
Components
Old
New
118
Combination directions
Faces that can be combined
X axis
Z axis
Y axis X axis
Z axis
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |119
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
Tetrahedrons and pentahedrons are used as cells and are combined with each other to create different types of components. In the sections on the right side of the page we can see the way initial pattern distances (rope) change after applying clay.
Pentahedron
Pentahedron x2 + platonic tetrahedron
Component
Pentahedron x3 + platonic tetrahedron
Pentahedron x3 + platonic tetrahedron x2
Component
120
Solid component
Outline of component
Low density
Section 1
Medium density
Section 2
High density
Section 3
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |121
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
In the next pages, catalogues of components of four different densities are displayed. These components are the result of various connections of the basic tetrahedron and pentahedron. The pattern selected for these catalogues was weaving in parallel.
Outline
Solid
Clay Outline
Pattern
Low Density
MediumDensity
High Density
122
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |123
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
Pentahedron + platonic tetrahedron
Component
Pentahedron + platonic tetrahedron x2
Component
124
R
Solid component
Outline of component
Low density
Section 1
Medium density
Section 2
High density
Section 3
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |125
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
Outline
Solid
Clay Outline
Low Pattern Density
Clay Application
126
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |127
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
Solid
Meduim Pattern Density
Clay Application
High Pattern Density
Clay Application
128
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |129
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components Removing edges
Pentahedron + platonic tetrahedron
R
Removing first two corners R
Removing third corner
Component
130
Final component
Solid component
Outline of component
Low density
Section 1
Medium density
Section 2
High density
Section 3
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |131
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
In the following two catalogues the parallel weaving pattern was maintained, but the components differ from the ones previously displayed because as can be seen in the diagram above, we removed some of their edges.
Clay Outline
Low Pattern Density
Meduim Pattern Density
High Pattern Density
132
Clay Outline
Low Pattern Density
Meduim Pattern Density
High Pattern Density
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |133
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Catalogues of Components
Clay Outline
Low Pattern Density
Meduim Pattern Density
High Pattern Density
134
Clay Outline
Low Pattern Density
Meduim Pattern Density
High Pattern Density
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |135
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES
Design Studies/Density Diagrams Translating geometries into mesh points. Use of curve attractors to create density variations. Applying these density formatons on wall and column elevations.
Wall
136
Column
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |137
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS Density Diagrams
high density layer medium 01 density layer medium 02 density layer
Layering Transforming density variations into layers of 4 different densities on walls and columns in order to give debth and rigidness to our structures.
low density layer
Stage 01
Test 01
Test 02
Test 03
138
Stage 02
Stage 03
Stage 01
high density layer medium 01 density layer medium 02 density layer
Stage 02
Stage 03
low density layer
Test 01
Test 02
Test 03
Test 04
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |139
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CLAY ON ROPE APPLICATIONS Structural Analysis
In this analysis we used one of our wall studies to see where the stronger-stiffer parts of it should be. We then replaced the density points with our components-voxels so as to determine where the most solid ones that can carry more weight should be located. In the areas where there is less stress applied we place our less solid-sparse components.
Translating geometry into mesh points.
Wall
Creating voxels of 3 different scales
140
Density formation on the wall
Strength analysis Load
Support Higher load
Component density
Less load
Component selection
Solid - dense components Medium density components Sparse components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |141
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Wall Explorations
The following design studies are based on the previous analysis and density diagrams. In the diagram illustrated below we can see how the components from the previous catalogue correspond to the wall as well as how the density changes from front to back. Solid components - Size: A
How they correspond on the wall
High density components
Medium density components
Low density components
Solid components
How they correspond on the wall High density components
Low density components Size: 2xA
142
2.80m
0.20
0.25
0.175 2.25 m
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |143
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Wall Explorations
144
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |145
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Wall Explorations
146
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |147
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Column Explorations
The column diagram on the right illustrates how the components are placed before applying clay. For the columns we mainly used the components without edges from the previous catalogues. Next to the column diagram we can see the final result after being rendered.
Components with removed edges
Solid components
How they correspond on the column
High density components
Medium density components
Low density components
148
Shape on column
3.00 m
0.20m 0.60m
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |149
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Column Exploration
Architectural application on columns
150
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |151
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES Column Exploration
Architectural application on columns
152
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |153
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES
Architectural Elements/Furniture Elements This example illustrates a seating element (bench) and a small table, that work together as a system.
3.50
2.80 m
Seating area = 1.60m
Seating area = 2.00 m
a
Seating element - plan
Elevation a
Elevation b
154
b
Perspective view of the bench
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |155
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
INITIAL DESIGN STUDIES
Architectural Elements/3D Structure The structural element below includes a combination of a staircase, two slabs and two columns that are made out of our components. A solid concrete slab was also integrated to the structure so as to explore the potential of blending our material with others. The specific design is a an attempt to combine architectural elements in order to explore the potential that our components hold in terms of architectural design and implementation.
Top view
156
Slab 1
Staircase
Columns
Exploded ISO view
Slab 2
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |157
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
158
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |159
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
5.DIGITAL DEVELOPMENTS DESIGN STUDIES
Exploring layers and directions
Wall explorations Physical Models-Porosity and Sizes Porosity diagrams STRUCTURAL APPLICATION ARCHITECTURAL PROPOSAL GENERATIVE PROCESS (I) Initial algorithmic studies - Type V & T Catalogue of Aggregations Facade Development
DIGITAL DEVELOPMENTS
Design Studies/Exploring Layers and Directions Taking advantage of the 60 °angle of our components we decided to add directionality to our studies and create less layers in which the pattern would be obvious from both sides of the wall. The goal was firstly to take our design studies one step further but also give them more stability by spreading the forces throughout the geometry instead of having them only in the front. Pattern Side
Structure Side
Front
Back
Force Analysis Facade Pattern: One side
Former Wall
Number of Layers: 5 162
Pattern Side
Pattern Side
Front
Back
Force Analysis Facade Pattern: Both sides
Element rotation 60 ° : Intensify Pattern New Wall
Number of Layers: 3 Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |163
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS Design Studies/ Wall explorations
In the images below we can see walls with this added directionality, in which the four component densities that were displayed in our catalogues are spread out throughout them to create interesting patterns. Maximum number of layers used: 3.
164
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |165
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS
Design Studies/Physical Models-Porosity and Sizes In order to study the porosity of the geometries we were producing digitally, we created the following physical models. Through these models, we studied which would be the appropriate size for our components as well as the minumum and maximum distances between strands of rope whilst weaving. In the largest component, where the ropes were more sparce, we noticed that the clay had difficulty attaching and dripped off the model.
166
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |167
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS Design Studies/Porosity diagrams
The diagrams below illustrate walls of different porosity according to the type of Level space. For public spaces, components of lower density are used, Porosity Highdensity components are used. whereas in private spaces only higher
Meduim
100 %
75 %
Public
75 %
Low
Semi--ublic
25 %
10 %
Private
Low Porosity
25 %
Porosity Level
High
100 %
75 %
Meduim
Medium Porosity
75 %
Porosity Level
Semi--ublic
Public
Low
10 %
Private
25 %
High
168
75 %
Public
25 %
Meduim
100 %
High Porosity
75 %
75 %
Semi--ublic
25 %
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |169
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS Structural Application
The structural system for developing a facade is based on the idea of panels that can be adjusted to the building. These panels are fabricated on site and they contain a frame of metallic rods that work as mullions if needed. The components are attached to the frame that can be layered twice from each side according to the thickness of the facade. Maximum number of layers: 4.
Metal Planks 2nd Layer Clay Components 2nd Layer Frame
170
1st Layer Clay Components
1st Layer Frame
Building Structure
Isometric
Section
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |171
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS Architectural Proposal
Side View
172
Iso View
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |173
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS Architectural Proposal
Perspective View
174
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |175
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS
Generative Process (I) /Initial algorithmic studies - Type V & T For the initial exploration of the generative process we used the basic tetrahedron and pentahedron. The specific components with the rules they are given can generate within a field of any type of geometry and in any direction.
02
03
02 05 04
01
04
03
±0 Type V
04
+
Densities - Type T
Densities - Type V
Type T
02 of V + 01/02/03/04 of T 03 of V + 01/02/03/04 of T
01
04 01
04 of V + 01/02/03/04 of T 05 of V + 01/02/03/04 of T
Rule A of Type V + Type T
(2) Results of the rule
03
02
+
±0
±0
09/05
±0
03
05 04
08/04
06/03 Rule B of Type V + Type V
2 * Type V
02
04
01 01
04
03
02
+
09/05 06/03
Rule B of Type T + Type V*2
176
02 Rule D of Type T + Type T
Rule C of Type V + Type V
01
07/02
05 04
03
03
08/04 07/02
02 Result
01
03
Aggaregation Field
Aggaregation Ruleďźš
Curve Surface Block Any shape Brep
Rule A of Type 03 + Type 04 Rule B of Type 03 + Type 04
Curve
Points of the field
300 components
600 components
1500 components
2500 components Aggregation Process
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |177
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS
Generative Process (I) /Catalogue of Aggregations In this catalogue, the previous generative logic was used to create these types of spatial elements of different form and dispersion.
178
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |179
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS
Generative Process (I) /Facade Development Perspective view of elevation & Closeups
The following facade, was designed based on the generative process explained in the previous diagram.
180
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |181
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL DEVELOPMENTS
Generative Process (I) /Facade Development Using as a starting point the different densities of our components we tried to create a gradient and flow that gives directionality and volume to the facade. In the areas with more sparse components light flows in, whereas in the areas where the components are denser we aimed for more privacy. Two versions of the facade elevation are placed below, one by day and one by night.
182
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |183
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
TITLE
Sub-Title
184
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |185
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
6.DIGITAL CRAFTSMANSHIP COMPUTER VISION WEAVING STYLE RECOGNITION Style Recognition Diagram Method 01 - Tracking
Method 02 - Drawing
WEAVING STYLE CATALOGUE L component
S component
Methodologies of Weaving Styles
Design Examples
COMPARISON OF STYLES ON AGGREGATIONS
DIGITAL CRAFTSMANSHIP Computer Vision
Computer vision is a field of artificial intelligence that trains computers to interpret and understand the visual world by replicating parts of the complexity of the human vision system . Using digital images from cameras, videos and deep learning models, machines can accurately identify and classify objects — and then react to what they “see.” In our research, computer vision was explored as a way to identify weaving patterns - styles which would then become digitized and therefore possible to be followed by anyone. Object tracking is a field within computer vision that tracks objects as they move across a series of video frames. This works by creating a unique ID for the object which will be identified in each frame and specify its new position. As it is explained in the following pages, tracking was used as a way to identify weaving motion, by placing a distinguishable object at the end of the rope. Augmented Reality technologies overlay imagery or audio onto the existing physical enovironment. This could not be done without computer vision (CV) which scans the environment allowing digital information to be placed wherever the user wants it in space. For our project, we propose mapping the physical component through AR & CV in order to be able to draw the weaving pattern over it with the help of our app.
188
Computer Vision - Object Tracking
http://deepmachinelearningai.com/object-tracking-in-deeplearning/
https://www.stealthtechnologies.com.au/computer-vision/
Computer Vision - AR - Scanning the physical environment
https://techcrunch.com/2019/01/08/scape/?guccounter
https://www.cc.gatech.edu/~dellaert/10S-3D/Welcome.html
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |189
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Recognition/Style Recognition Diagram In a senario where different people weave on the same physical component, each individual would intuitively weave in a different way. Therefore, we incorporated in the design part of the app the option of weaving styles. The methods we explored were two. The first was movement tracking and the second was drawing curves on the physical model with the use of AR. The goal for both cases, is for the information to become digital and be incorporated in the app so that the users can follow their desired weaving styles. Individual
190
Assembled component
Individual style
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |191
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Recognition/Method 01- Tracking Weave on each face by moving a sphere of distiguishable color that is attached to the end of the rope. The concept is based on computer visionand works with an algorithm that includes a script for tracking the color and another for tracking the position of the sphere. This process gives us the coordinates of the sphere while we move it and therefore allows us to generate the “weaved” curves. However, this process wasn’t entirely succesful because when a person weaves, his hand or even the rope are very likely to interfere disrupting the process.
Computer/Scene interpertation
Camera/Sensor
Scene
Error 1: rope interferes with marker
192
Error 2: hand interferes with marker
Physical model - attempt
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |193
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Recognition/Method 02- Drawing For this method, we use our digital component and unfold its faces so that it becomes 2-dimensional. This is because our AR app allows us to draw on each face in 2D. Thus, the lines we draw on our screen by viewing the physical model are directly transferred as curves on our design program and can then be attached to the unfolded 3D model.
Solid component
Wireframe
Unfold faces to 2d
194
3D model with clay
3D model with pattern
Generate curves through AR
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |195
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Recognition/Method 02 - Drawing AR allows the user to virtually draw “weaving lines� through the screen of a mobile phone on the physical model. In each diagram below we can see that the curves that are drawn on the screen in the left are automatically transferred to a design software, through the AR application. This allows the user to rapidly decide on the weaving style he prefers and instantly have the digital model of it.
Drawing lines on phone screen
Real-time process
196
Trasnfer to design software
Grid tracking
Digital model - unfolded
Face 1-2-3
Digital curves 1-2-3
Face 3-4-5
Digital curves 3-4-5
Face 4-6-10
Digital curves 4-6-10
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |197
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/L component Nine basic weaving styles were developed for the style catalogue, from which the user can select one for his design. In the making part of the app, users are guided through AR to weave based on the specific style the designer has chosen.
Style 1
High Density
Medium Density
Low Density
Out-Line
198
Style 2
Style 3
Style 4
Style 5
Style 6
Style 7
Style 8
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |199
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/S component
Style 1
High Density
Medium Density
Low Density
Out-Line
200
Style 2
Style 3
Style 4
Style 5
Style 6
Style 7
Style 8
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |201
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 1 The first weaving method works by moving the rope in a circular motion around the component and creating parallel lines. The first strand of rope rotates around the upper part and the second, moves in parallel to create the base. Methodology
202
Style 1 effect on different components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |203
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 1/Design example
L-Shape Component
High Density
Medium Density
Low Density
204
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |205
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 2 The second weaving method works by starting from one corner of the component and moving the rope towards the two opposite faces to create a “fan” pattern by connecting the starting corner with the two opposite corners. The first strand of rope is for the upper part and the second, is weaved in a “fan” pattern to create the base. Methodology
206
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |207
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 2/Design example
L-Shape Component
High Density
Medium Density
Low Density
208
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |209
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 3 The third weaving method works by moving the rope in a circular motion around the component in a diagonal way. Both strands of rope start from the same poing but go towards different directions in order to create a “net� like effect around the component.
Methodology
210
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |211
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 3/Design example
L-Shape Component
High Density
Medium Density
Low Density
212
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |213
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 4 The fourth weaving method works by weaving in a “zic zac” motion along every two faces. The first two strands of rope are for the upper faces and the third one moves in the same “zic zac” motion to create the base.
Methodology
214
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |215
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving style 4/Design Example
L-Shape Component
High Density
Medium Density
Low Density
216
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |217
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 5 The fifth weaving method works by weaving from corner to the middle and then again to the corner within each face and in a different sequence everytime. This creates the effect of a deconstructed star on each face of the component.
Methodology
218
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |219
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 5/Design Example
L-Shape Component
High Density
Medium Density
Low Density
220
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |221
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 6 The sixth weaving method works with faces that share an edge at the top. The user does one full rotation in the beginning and then moves in a a specific “zic zac� movement on each face as it is illustrated in the diagrams below.
Methodology
222
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |223
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 6/Design Example
L-Shape Component
High Density
Medium Density
Low Density
224
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |225
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 7 The seventh weaving method works with weaving seperately on each face. The user works in a diagonal “zic zac� movement and can easily move between denisities.
Methodology
226
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |227
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 7/Design Example
L-Shape Component
High Density
Medium Density
Low Density
228
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |229
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Methodology of Weaving Style 8 The eighth weaving method works with weaving diagonally around the whole component in a circular movement using a single strand of rope. This method is also efficient for controlling density.
Methodology
230
Style on Different Components
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |231
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Weaving Style Catalogue/Weaving Style 8/Design Example
L-Shape Component
High Density
Medium Density
Low Density
232
S-Shape Component
Aggregation
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |233
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
DIGITAL CRAFTSMANSHIP
Comparison of Styles on Aggregations The aggregations below are exactly the same but with clay parts of different weaving styles. Each effect is different and it is interesting to see how much the way a person weaves can influence the overall outcome. This makes weaving styles a vital parameter in the design process.
Weaving Style 1
Weaving Style 2
Weaving Style 5
Weaving Style 6
234
Weaving Style 3
Weaving Style 7
Weaving Style 4
Weaving Style 8
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |235
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
7.cerARamics APPLICATION CEARAMICS - DESIGN Outline
Density Control
Generating parts
Replacing with clay Weaving Styles & Glazing CEARAMICS - MAKE Outline Equipment for Assembly Component Assembly
Replacing with clay Weaving Styles & Glazing
CEARAMICS APPLICATION ceARamics-Design/Outline
The app is developed to work in two parts. The first part which is explained through the following diagram, is addressed to designers/architects. Designers have the opportunity to import their forms-volumes, which could be facades, walls etc. and then generate clay parts on them. They have the option to control the overall density and choose between weaving styles and glazings. In the end of the process the users can make their requests for available ceramist workshops worldwide and communities that will manufacture the pieces.
238
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |239
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION ceARamics-Design/Density Coltrol
First, users import their forms to the app and click generate. They can then select the type of habitable space of their preference (public, semi-public, private) which corresponds to a percentage of porosity. Design parameters appear as points within the form. These points can be manipulated to control the position of the components on the surface according to their density. Therefore, users choose how the four different densities of their components will be distributed on their design. The app only controls the amount.
240
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |241
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Design/Generating Parts Solid components are next generated part by part until the whole surface is covered. It is also possible to divide these parts according to their density.
242
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |243
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Design/Replacing with clay Once the generation of solid parts is complete and the distribution of components is decided, replacing solids with clay components will follow. The option of dividing the clay parts according to density is available here as well and users can view what their design will look like before glazing.
244
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |245
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Design/Weaving Styles & Glazing After having replaced the solid parts with clay, users can choose from a variety of weaving styles for their design and then view the glazed version of it by choosing a color from the palette.
246
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |247
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION ceARamics-Make/Outline
The make part of the app is available to anyone. Although there are clear instuctions within the app that guide the user during the fabrication process, clay is a material that needs special equipment such as a kiln for firing and experience with glazing. That is why we suggest that communities who want to participate in the process of making to do so under the guidance of the assigned cermist workshop of their area. Assemblying the frame of the component though, can be easily achieved through AR, from anyone’s home through the use of a mobile phone. The following diagram illustrates how the making process is assisted by the app, by outlining the basic steps users need to follow.
248
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |249
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Make/Equipment for Assembly These two photos display the setup of the equipment users would need in order to assemble the component frame. The rope, sticks and nodes would be delivered to the users once they make their request for availability. Other than that, the only extra part would be the mobile phone -the tripod is not mandatory but helps with stability. Therefore, we realize that the process can be done by anyone without the need of expensive gadgets. The procedure is multidisciplinary and expands the production chain allowing for a fully democratized manufacturing process which is enabled through our AR technology.
250
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |251
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Make/Component Assembly This app is developed to guide users step by step through the process of constructing a component. The process begins by adjusting the nodes and sticks. Then the weaving procedure follows, where users have to adjust the rope according to the style that the designer selected. Users are first given a number of choices from a catalogue of components, from which they can pick the component/s they want to work with and also specify the number they can provide. Afterwards, the sticks and nodes that are needed will be delivered to them labeled by component. Once all the necessary parts are collected, users choose the component they wish to start with and launch the AR application.
252
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |253
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION
ceARamics-Make/Component Assembly At this stage, the AR simulation positions in space the outline of the component and where the sticks and nodes should be. After the user has assembled the frame, weaving zones with lines within them appear, so that it is easy to follow the weavig patterns with the rope. This simplifies the process of assembling the component and makes it faster, even for someone who is doing it for the first time.
AR Simulation - Start screen
254
AR - Placing the nodes and sticks in place
AR - Weaving within the zones
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |255
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION ceARamics-Make/Weaving Process
After having assembled and weaved the total number of components that each user was assigned to, the users collaborate with designated ceramist workshops in order to apply clay and glazes. Finally the components can be shipped to the building site.
AR Simulation - Model Complete
256
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |257
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION ceARamics-Make/Construction Site
Once the components arrive at the building site, the construction workers use the application again to see how the facade - or part of the facade, will be divided so that it can be assembled onto panels. They can then select a division part of the facade for assembly and begin constructing it.
258
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |259
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
CEARAMICS APPLICATION ceARamics-Make/Construction Site
By wearing the hololens, or through a tablet screen, the construction workers can see the division of the facade that is to be assembled made out of solid components of three different colors. Each color corresponds to a different density of components. When the block of clay components is complete, it is attached to a panel which stabilizes it on the building. Block by block or panel by panel the facade is formed.
260
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |261
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
8.ALGORITHMIC IMLEMENTATION GENERATIVE PROCESS (II)
Type 01: L- Combination Research
Type 02: S - Combination Research
Type 01: L & Type 02: S - Combination Research Type 01: L, Type 02: S, Type 03: V & Type 04: T Results
APPLICATION ON FACADES Option 1 Option 2 Option 3
TITLE ALGORITHMIC IMPLEMENTATION
Sub-Title Process (II)/Type 01: L- Combination Research Generative The rules that create the combinations depend on the number that is on each face. By attaching faces with different numbers the result will change. The surfaces that attach should always match.
05 Âą01
04
03 06 07
02
Type 01: L
08
Density 01
+01
Density 02
Density 03
+01
Rule A: +01 to +01
Result - Solid
Density 02 * 2
Âą01 -01
Rule B: +01 to -01
02
Rule C: 02 to 02
264
Result - Solid
Density 01 + 03
02
Result - Solid
Density 01 + 02
Rule Combination
02
02 +01
+01 +01 02
Result - Solid: Rule A + Rule B
Clay - Result: Rule A + Rule B + Rule C Density 02 + 03
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |265
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION
Generative Process (II)/Type 01: L- Combination Research
03
03 02 02
02 03
Rule D: +02 to +03
Result - Solid
05 04
04
Density 02*2
05
Result - Solid
Rule E: +04 to +05
Density 02+03
06 06
Rule F: 06 to 06
Result - Solid
Density 02+03
08
07
Rule G: 07 to 08
266
08
07
Result - Solid
Density 02+03
Rule Combination
±0
03
05
02
04 02
+01
02
02 06
+01
07
06 ±01
Result - Solid: Combining all the rules
Result - Clay: Combining all the rules Density 01+02+03
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |267
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION
Generative Process (II)/Type 02: S - Combination Research
01
08 05
03 04
07
10 06 02
09
Density 01
Type 02: S
Density 02
Density 03
01
01
03
03
04
04
02
02
03 02
Rule A: 01/02 to 03 01/02 to 04
Result - Solid
Density 03+04
05
05
06
06 05
Result - Solid
Rule B: 05 to 06
Density 03+04
08
09
Rule C: 07 to 08 / 09 to 10
268
08
07
07 10
07
Result - Solid
09
10
Density 01+02
Density 04
01 02
01
01
02
02
02
Rule D: 01 to 02
01
Result - Solid
Rule Combination
Result - Clay: Rule A + Rule C + Rule D Density 01+03+04
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |269
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION
Generative Process (II)/Type 01: L & Type 02: S - Combination Research
05 ±01
04
01
03 06 07
08 05
02
08
03
10
04
07
06 02
09
Type 01: L
Type 02: S
01
03
03 01 03
+
04
02
02
02 Rule A of Type 02 S
Rule A of Type 01 L
+
06
Rule F of Type 01 L
04 02
Result - Solid
06
05 06
05
Rule B of Type 02 S
Result - Solid
08 07 07 Rule G of Type 01 L
270
08
+ 09 Rule C of Type 02 S
10
07/10
Result - Solid
01
02 Rule C of Type 01 L
+
01
02 Result - Solid
02 Rule D of Type 02 S Rule Combination
01 01
01
02
02
03 02
01
02
02
08
07 06
Result - Solid: Combine Type L and Type S
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |271
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION
Generative Process (II)/Type 01: L, Type 02: S, Type 03: V & Type 04: T The components we worked with grow naturally in a 60 °angle which can be observed in the previous examples. In order for the components to populate in a 120 °angle as well, we had to use two transitional components which were Type V and Type T.
02
03
02 05 04
04
01
04
03
02 of V + 01/02/03/04 of T
+
01
04 01
03 of V + 01/02/03/04 of T 04 of V + 01/02/03/04 of T
±0 Type 03: V
Type 04: T
Rule A of Type 03 + Type 04
+
05 04
±0 06 A
03
02
03
02
01
04
05 of V + 01/02/03/04 of T
Rule A - Result
04
02
±0
03
04
05
07 B
Rule B of Type 03 + Type 04
05 04
04
01
03
03
03
06
06
+
±0
02
02
03
02 09/05
Result - Solid
02
03
02
Rule A + Rule B of V + T
05 04
06/03
08/04 07/02
Rule D of Type 01 L
Result - Solid
Rule F of Type 01 L
Random combination 02 of V + 01/02/03/04 of T 03 of V + 01/02/03/04 of T 04 of V + 01/02/03/04 of T
02 05
05 06
01
06
05 of V + 01/02/03/04 of T
Rule A + Rule B of V + T
272
Rule C of Type 02 S
Result - Solid
03
Wall Aggregation
60째 120째
120째
60째
Result - Solid: Combination of Type L + Type S +Type V +Type T
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |273
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION Generative Process (II)/Results
This catalogue of aggregations varies from examples that combine all the generation rules that were explained previously, to examples that include a specific selection of rules and their combinations.
L: rule A + rule B + rule C + rule D +rule G
L: rule A + rule B + rule C + rule D
L: rule B + rule C
L: rule A + rule B + rule C + rule D + rule E
274
L: rule A + rule B + rule C + rule D
L: rule B + rule C + rule E
L: rule B + rule C + rule E + rule G
L: rule B + rule C + rule G
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |275
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
ALGORITHMIC IMPLEMENTATION Generative Process (II)/Results
All rules for L + all rules of S
276
All rules for L + all rules for S + rule for V
All rules for L + all rules for S
All rules for L + all rule of S + rule of V
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |277
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
APPLICATION ON FACADES OPTION 01
ALGORITHMIC IMPLEMENTATION Application on Facades/Option 01
The following pages display the application of our ceramic parts on three versions of building facades, which were implemented by the generative logic explained in the previous diagrams. The following facade is uniform, creating a “wave-like� effect on its surface. On the highest point of these wave formations the porosity becomes low allowing light to flow in. In the areas where the waves deepen the components are more solid. Overall, solid parts relate to private spaces whereas low porosity translates to openness and connection to the public. Component used: L, Rule B & C
Close-up view 1 280
Close-up view 2 Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |281
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
TITLE
Sub-Title
282
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |283
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
TITLE
Sub-Title
284
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |285
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
APPLICATION ON FACADES OPTION 02
ALGORITHMIC IMPLEMENTATION Application on Facades/Option 02
For the second facade, extruded rectangles were designed that intersect on different levels giving volume to the facade. Every rectangle displays low porosity in the middle and becomes denser in the edges which is the area where it intersects with another rectangle. Component used: L, Rule B & C
Front elevation
288
Close-up view 2
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |289
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
APPLICATION ON FACADES OPTION 03
ALGORITHMIC IMPLEMENTATION Application on Facades/Option 03
The volume of the final building is divided into four “barrel-like� shapes.The barrel located at the street corner welcomes visitors to an open space double height foyer. Every barrel is dense at the parts that frame the ground glass panels and becomes more sparce as it moves up to the main body of the building. The intersection parts of the barrels are also areas of high density. Components used: V & T
Close-up view 1
292
Close-up view 2
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |293
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
294
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |295
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic
296
Project by Efthymia Mastrokalou, Jiaxiang Luo, Rahaf AlDabous and Sarah AlDaboos |297
Research Cluster 9, Taught by Alvaro Lopez and Igor Pantic