Design Portfolio Erin Linsey Hunt erinhunt@gsd.harvard.edu | erinlhunt.com | +1.319.981.0897
NuBlock Collaboration with Yaxuan Liu Professor: Sawako Kaijima Interface Design: Integrating Material Perceptions Fall 2020 | Harvard GSD NuBlock brings a modern and aesthetic update to an architectural and structural elementary unit— brick. With its innovative water-soluble formwork, this project can create lighter concrete bricks through a gradient of variable porosities with intricate geometries and infinite customizability. Thanks to its customizability, NuBlock’s porosity can directly relate to its location’s structural need. In areas where greater structural stiffness is required the block is denser and vice versa. The goal is to minimize the quantity of material necessary through formal optimization while maintaining its structural performance and decreasing the embodied carbon latent in concrete fabrication. Polyvinyl Alcohol (PVA) is a biodegradable, watersoluble polymer that is used in 3D printing as a support structure for a second 3D print material. When exposed to water it will dissolve. This material is what is used to hold the detergent in pods and are the composition of glue sticks. For this project PVA was used as a primary print material for use as concrete formwork. As formwork, it has allowed for the creation of concrete components with hollow parts, undercuts, as well as other scenarios in which removing or breaking the formwork would be impossible without breaking the cast. Typically, casting complex forms in concrete requires large and multipart formwork but, with PVA, a single mold can be used as shown in the diagram on this slide. The PVA formwork at left would dissolve leaving the intricate block at right. Two case studies were investigated using very different structures to showcase NuBlock’s versatility. These two studies were a staircase core and a shell structure. My Contributions: • Aided in the design development of the case studies and the project • Developed diagrams • Helped with the FEA analysis • Fabricated the blocks
Speculative renderings of the staircase core and the shell structure.
Creation of a Hexagonal Grid Separation of Points
Moving one set of Points in the Z Axis Distance
Inputs Hex Cell Size Length (X Axis) Width (Y Axis)
Input Z Axis Move Distance
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6. 8. Top row, the brick was based off hexagonal sphere packing. The cell size determined the density of the spheres which allowed for varying porosities. The angle of the sphere array can be changed to allow for varying direction of porosity that can augment the view or the lighting. The spheres were used to remove material from a block. An exterior boundary remained on four sides to make the module more legible once populated on a structure. Bottom two rows, Ten brick types were designed with a gradient porosity. The depth of the bricks range from eight to twelve centimeters from the most porous to the least porous.
Use the Obtained Points as the Spheres’ Centroids
Linear Array of Spheres
Input Sphere Radius
Input Array Count
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FEA Result (Stiffness)
Brick Mapping
9 meters
3 meters 1 meter
Wall 1
4 meters 3 meters
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Left column, these two diagrams denote the stiffness map from the FEA optimization. The white areas are where the most structural stiffness is desired while the least is required in the black areas. Middle column, these renders show the blocks mapped onto the structure according to the FEA optimization result. Right top, render of the staircase core. The structure was only 30.73% the volume of this structure with traditional blocks. Right bottom, render of the shell. The structure was only 23.48% the volume of this structure with traditional blocks.
Wall 2
Rendering
Wall 3
Wall 4
x2
x6 x3
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Left column, Polyvinyl Alcohol (PVA) formwork, water soluble formwork, was used to create this block. The formwork was printed in multiple parts that could be held together with wooden dowels. The strategy eliminated material bridging and need for support structures allowing for the complex geometries to be fabricated. A small desktop 3D printer was used this method allowed the blocks volume to be greater than the printer’s build boundary since the entire block was not being printed at once. The volume of this block was 20 centimeter (length) x 10 centimeter (width) x 10 centimeter (height). Right top left, PVA formwork held with wooden dowels. Right top right, PVA formwork, wooden dowels with an additional PLA reusable formwork. Right bottom, resulting Rockite cast block once the PLA formwork was removed and the PVA formwork had dissolved when placed in water.
Left, zoomed in image of the block. Right, this is an image of the two final fabricated blocks that were stacked to show the possible variation in porosity.
Speculative renderings of the staircase core and the shell structure.
RETRACTABLE DOME PAVILION Collaboration with Joonhaeng Lee, Shiyao Sun, and Michael Ramirez Professor: Chuck Hoberman Transformable Design Methods Fall 2019 | Harvard GSD The objective of the project is to build a rapidly deployable pavilion mimicking the shape of the Droneport developed by a mix of professors and students from MIT, ETH, EPFL, Cambridge University, and the Norman Foster Foundation. When fully deployed, the structure creates a partially enclosed space with a detachable fabric cover; when fully closed, the pavilion can be compressed into a flat pack. The compatibility and ease of deployment allow easier transportation and prefabrication. The catenary design of the arches provides a sense of structural levity and honesty, revealing clearly how forces flow throughout the structure. One of the structural challenges of the pavilion is its three cantilevered arches in the center, resulting in high stress in the connecting scissors. This structural consideration serves as a guideline for the orientation of the scissor linkages. To avoid failure in the linkages, we oriented the scissors vertically to ensure greater stiffness and resistance against self-weight. The deployment philosophy is to allow the five rigid arches connected by scissor linkages to expand and retract in synchrony. Through a series of trials and iterations, we introduced the implementation of slider-slots that stabilize the arches by eliminating the “swaying” motion from earlier iterations. The slider-slots later serve as anchors for the fabric cover. Furthermore, we increased the number of scissor pairs between arches from one to two after modeling the fifth iteration in Rhino. By doubling the frequency, we reduced the height of the slider-slots, and thus enabled better compaction. As a last step, the five arches are raised and supported on footings in each corner, providing better access underneath the pavilion. My Contributions: • Aided in the design development of the pavilion • Developed the digital model • Produced the diagrams and render • Aided in the fabrication of the pavilion
COMPRESSED
Side Elevation
Isometric
Plan
Front Elevation
DEPLOYMENT DIAGRAM
EXPANDED
Side Elevation
Isometric
Plan
Front Elevation
Speculative Rendering
Left, detail photos Right Top, pavilion compressed Right Bottom, expanded
NON_CONFIRMED Collaboration with Caleb Hawkins, Yotam Hur, Minzi Long Professor: Hyojin Kwon and Zach Seibold Digital Media: Manipulations Fall 2019 | Harvard GSD The Doric and Ionic columns were designed to resemble the patriarchal expectation of the male and female. Doric columns are more robust and implemented in places where strength and power are showcased such as in churches and political buildings. These columns were meant to promote these characteristics in the society’s men. The Ionic are slender with ornate carvings reflecting societal expectations for women to be petite and beautiful. To challenge this paradigm, we used the iconographic symbols that are used to denote gender within the built environment. These profiles were recreated in Grasshopper3D and given the ability to be manipulated and distort the form in scale and shape. The manipulation of these symbols is used as a means to challenge the historic precedent of associating specific genders with beauty, structure, and form. The resulting object combines the iconography of the two genders with two sides portraying the male, and the other two portraying the female. As these icons are further distorted, the gender binary within the form becomes blurred in an effort to question gender stereotypes. My Contributions: • Aided in the design development of the column • Developed the Grasshopper definition • Aided in the fabrication of the column
The final column with projections mapped to its surface.
Left Top, Generative Logic Diagram Left Bottom, Visualizing the Cut Paths Right, Field of other design possibilities
Left, the final foam column getting hot wire cut by the robotic arm Right, The final column. The remaining foam from the column’s cuts were stacked against a wall. The pieces could also be stacked into additional drums and stacked to make an additional column.
WAFT 2018 ACADIA Project Collaboration with Shelby Doyle and Kelly Devitt Summer 2018 WAFT is an interdisciplinary collaboration between researchers in architecture, computation, and ceramics. The project integrates traditional slump molding techniques and handmade glazes with computationally designed and 3D printed ceramic tiles and CNC milled molds. WAFT is the result of an ongoing partnership at the Iowa State University (ISU) Computation + Construction Lab (CCL) between the departments of Architecture and Arts & Visual Culture at ISU’s College of Design. The project relies upon digitally assisted fabrication, the combination of manual and digital fabrication practices. WAFT leverages both ceramic knowledge and digital fabrication capabilities to create designs that neither discipline could produce in isolation. My Contributions: • Developed the Grasshopper definition and G-Codes used to print each tile • Aided in the fabrication of the tiles and the assembly of the substructure • Aided in the production of the final publication
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Left, The tiles were designed using grasshopper allowing rapid customization of the pattern, gradient and density. Layers were printed in pairs of 2, 4, or 6 creating a weave there the structure of the tile is strengthened through the overlap of the clay between layers. Tiles size remained consistent at 6� (X) x 6� (Y) and layer height for the clay remained constant at 2.8 mm. Right, each tile g-code is printed three times and then slumped over each of the three molds (A, B, C) resulting in variation of opening density through variation in the surface curvature. Layers were printed in pairs of 2, 4, or 6 creating a weave where the structure of the tile is strengthened through the overlap of the clay between layers.
8.A
8.B
8.C
Light
72” (1.8 m) Row 1 11 Gauge Steel + with off-the-shelf hardware + slotted for adjustable attachment + painted black 36” (0.9 m)
Row 2 Row 3 Row 4 4” (101 mm)
Row 5 Row 6 2” (50 mm)
14” (.35 m) Concrete Stained Lumber Stained Plywood on 11 Gauge Steel Casters
Dark
Right Top, Hardware was attached to the fired tiles using apoxie clay. From the non-glazed (interior) a variety of light conditions and views are created. Right Bottom, A full-scale substructure was constructed using Plasma CNC cut steel and off-the-shelf hardware to allow for testing tile assemblies and the development of attachment details. The tiles were hung from lightest to darkest glazing and from smallest curvature to greatest curvature. Left, Final mock-up.
COILED SHELLS Collaboration with Katarina Richter-Lunn and Sana Sharma Professor: Jose Luis Garcia del Castillo Lopez Introduction to Computational Design Fall 2019 | Harvard GSD ASSIGNMENT In Grasshopper3D using solely C# components, Implement a non-standard design and compiler for 3D printing. INSPIRATION We took formal inspiration from the radial symmetry and diverse shapes produced by diatoms, sea urchins, and other small sea creatures. Our goal was to create a single continuous curve with stepwise z-motion, eliminating the need for infill to print hollow volumes. By using rotation and profile as our main parameters, we could test the how slope and span of our designs would affect bridging and layer deposition. My Contributions: • Aided in the design development of the of the formal logic • Created the C# components that designed the forms • Aided in the 3D printing
Final twelve prints each was approximately two cubic inches.
CREATING A BASE CURVE
COMPOUND TRANSFORMATION
IM_RU 2017 ACADIA Project Spring 2017 Professor: Shelby Doyle IM_RU was designed and built by fifteen students majoring in architecture, landscape architecture, and interior design as part of an interdisciplinary undergraduate studio at Iowa State University. Constructed from low-cost 3D printed joints, mirrored acrylic, 1/8” steel wires, and LEDs, the pavilion was designed using computational methods to be structurally flexible, simple to assemble, and lightweight for transport. The project was constructed in the ISU Computation and Construction Lab, deconstructed, and then transported 130 miles and reassembled at the 2017 Flyover Fashion Festival. The project is an inhabited passageway of 500 mirrored surfaces arranged in a dissolving, voxel grid. The IM_RU Pavilion’s name is shorthand for the dialogue users unconsciously encounter between their perception of reality and others reality: “I am... are you?” An individual’s reality is inescapably subjective and is therefore embedded with “I am” statements. In this way, we utilize ourselves as reference points. Ultimately, the IM_RU Pavilion presents architecture and public space where an individual is simultaneously confronted with a multiplicity of individual and collective perceptions. By exploding and scattering what is seen, IM_RU prevents the passerby from using him or herself as a reference point. Manufacturing relied almost entirely upon 3,200 low cost ($0.18 each) 3D printed PLA joints fabricated with four Dremel 3D20 Printers ($800). My Contributions: • Developed the Grasshopper and Karamba definitions used to design and test the structure. • Aided in designing the pavilion’s form. • Aided in fabricating the pavilion by 3D printing the joints and holsters as well as helping to assemble the aggregation of units. • Developed all diagrams for the final publication.
IM_RU at the Flyover Fashion Festival in Iowa City, Iowa.
IM_RU at the Iowa State’s Computation + Construction Lab.
IM_RU at the Flyover Fashion Festival in Iowa City, Iowa.
First
Final
Evolution of the 3D Printed Joint Design
Minimum
Minimum
Maximum
6” 8” 10” 12”
Stress Analysis
Box Types
Maximum
Deformation
Width 6” x Length 6” x Depth
Top, The mirrored acrylic slid into pockets in the 3D printed joints. The LEDs and 3 volt batteries were placed into a 3D printed holster the domed light was protruded through a hole drilled into the top of each mirror. Middle, The wires snapped into the 3D printed connections to hold the boxes together and in place. Bottom, Concrete block foundations had opens for pug lights. Wires were connected with 3D printed joints and placed into the concrete to connect to the wire boxes that composed the pavilion.
IM_RU2 Site: Iowa State Fair, Des Moines, Iowa Summer 2018 The Computation + Construction Lab (CCL) was chosen to represent Iowa State University at their booth at the Iowa State Fair. I helped design and fabricate the pavilion as well as oversaw a team of students who reconstructed the new iteration of the IM_RU pavilion. My Contributions: • Developed the Grasshopper and Karamba definitions used to design and test the structure. • Aided in designing the pavilion’s form. • Aided in fabricating the pavilion by 3D printing the joints and holsters as well as helping to assemble the aggregation of units. • Managed a team of students that built the pavilion. • Organized the transportation of the pavilion to and from the Iowa State Fair.
Left, Line drawing of IM_RU2 design. Right, Photos, by Iowa State University’s Photographer, Chris Gannon, of IM_RU2 at the Iowa State Fair.
Braille Vases Spring 2019 In collaboration with Ingrid Lilligren, Chair of Art and Visual Culture at Iowa State University. Lilligren asked me to map Braille text to a series of 3D printed porcelain cylinders. The text will relay information regarding the melting of the polar ice. A preliminary text in both English and Braille and a test print can be seen to the right. These vases will be part of her installation at the National Council on Education for the Ceramic Arts, NCECA, where she placed ice into the unfired vases and allowed them to dissolve over the course of the four-day exhibit. My Contributions: • Developed the Grasshopper definition used to map the braille onto the vases and to create the gcode. • Fabricated the vases.
“Percentage of fresh water on the planet as ice in 1918 was 71%”
Left Top, An example text in both Braille and English. Bottom: The entire braille text is divided into a rectangular grid, each braille letter is composed of 6 cells. The white portions of the grid are culled while the black portions remain creating the text on the vase with overhanging loops. Right Top, The printed vases. Bottom: The ten Braille vases slowly melting during the exhibition.
Dissolving Formwork ACADIA Paper 2019 Collaboration with Shelby Doyle Summer 2019 This research explores the potentials, limitations, and advantages of 3D printing water-soluble formwork for reinforced concrete applications. Using polyvinyl alcohol (PVA) forms and PLA steel tensile reinforcement this project explores the constraints and opportunities for architects to design and construct reinforced concrete using water soluble 3D printed formwork with embedded reinforcement. Research began with testing small PVA prints for consistency, heat of water-temperature for dissolving, and wall thickness of the printed formwork. Then, dualextrusion desktop additive manufacturing was used as a method for creating a larger form to test the viability of translating this research into architectural scale applications. This paper describes the background research, materials, methods, fabrication process, and conclusions of this work in progress. My Contributions: • Developed the Grasshopper definition that aided in designing the form of the column. • 3D printed the PVA mold and custom rebar. • Helped pour and dissolve the mold • Aided in the creation of the diagrams.
Left, PVA form with embedded stainless-steel PLA printed reinforcement. Right, resulting HEC (rockite) cast form with embedded stainless-steel PLA reinforcement after the PVA was dissolved with water.
Left, PVA was established as a material based on cost and ease of use after a number of small scale tests with a numbe of dissolvable filaments. A larger scale (9” / 225 mm diameter) mold was printed and poured with HEC (Rockite) to determine whether the PVA might continue to work at a larger scale. The mold was 4” (101 mm) tall and took 58 hours to print at standard resolution or 0.25 mm layer height. Right Top, Early iterations testing PVA shell/mold thickness and temperature for dissolving the PVA. From left to right 0.75, 1.00. 1.25, and 1.5 mm shell/mold thickness and from bottom to top 25°, 50°, and 75° Celsius water temperature for dissolving. The thinnest shell and highest temperature performed best Right Bottom, Photos of PVA during the dissolving process of a 1.00 mm shell PVA cast with HEC in 50° Celsius water. From left to right: hour 0, 4, 8, and 12. Dissolving completed after 24 hours.
Left, Photos of the final test process. Clockwise from top left: printing, casting, cleaning, and soaking. Right, Drawings of the final design.
Melting 2019 ACADIA Project + Autodesk Emerging Research Award: Project Category Collaboration with Shelby Doyle Summer 2019 Melting is a continuation of prior research conducted in the paper “Dissolvable 3D Printed Formwork: Exploring Additive Manufacturing for Reinforced Concrete” (ACADIA, 2019). The paper proposes simultaneously printing polyvinyl alcohol (PVA) formwork and steel PLA tensile reinforcement to produce water soluble concrete formwork with integrated reinforcement. One conclusion of the paper was that “the complete elimination of formwork may continue to be more preferable than the introduction of biodegradable or water-soluble formworks. The most promising application for these methods might be the augmentation of traditional formwork.” The prototypes that follow use the methods developed in “Dissolvable 3D Printed Formwork” to augment typical concrete construction methods with moments of unique geometry that would be difficult to fabricate using other concrete formwork methods. My Contributions: • Developed the Grasshopper definition that aided in designing the form of the column. • 3D printed the PVA mold and custom rebar. CNC routed all formwork. • Helped pour and dissolve the mold • Aided in the creation of the diagrams.
FORM A Left to Right, diagram of Form A column formwork, rendering of column, elevation denoting the path of the reinforcement, and resulting HEC cast column. The top and base design of this column was created by bounding the 3D printed PVA formwork. The boundary was then used to find the curves that touched the top and bottom faces. These curves were polar arrayed and merged into an outer and center curve to create the extruded profile. This method was an attempt to create a smooth transition between the two formwork methods. These profiles were CNC routed from polystyrene insulation foam. Additional custom caps at the top and bottom were CNC routed formwork to hold the 1/2� rebar vertically in position and to connect the two formwork methods. The top layer of CNC routed formwork had additional apertures to allow the Hydraulic Expansion Cement (HEC) to be poured . Although this method allowed for greater formal cohesion and customization it took nearly four hours to CNC route for the single prototype. This formwork was destroyed upon removal and could not be reused limiting it as a replicable strategy. This column used two-thirds of a board of polystyrene insulation foam costing twenty dollars.
FORM B Left to Right, diagram of Form A column formwork, rendering of column, elevation denoting the path of the reinforcement, Form B-1 column cast in Quikrete Fast-Setting Concrete with the aggregate sifted out, and Form B-2 column cast using two-parts fine sand one-part cement and one-part water. These iterations used an eight-inch diameter standard sonotube augmented with PVA formwork. In addition to the sonotubes, four custom CNC routed polystyrene insulation foam caps were created to hold the center off-the-shelf PVC pipes (used to create a hollow cast), 1/2� rebar, and the 3D printed formwork. The CNC’d milled caps allowed for the addition of custom edge qualities such as a chamfer or fillet to create continuity between the 3D printed formworks and the sonotube formworks (Figure 6). Two prototypes were created using this method and a single sonotube costing nine dollars, allowing for a cheaper and faster method than only using water-soluble formwork. Form B-1 had filleted edges (Figure 9) and Form B-2 had chamfered edges (Figure 10) resulting in different resolution of the connection between formwork types. These caps were not damaged upon removal allowing for future reuse. Form B-1 was cast using Quikrete Fast-Setting Concrete with the aggregate sifted out of the mix. This mixture resulted in a less polished surface finish than Form B-2 which was cast using two-parts fine sand one-part cement and one-part water.
Melting 2.0 ACADIA Project 2020 Collaboration with Shelby Doyle Fall 2019- Spring 2020 This project investigated computational design and fabrication methods for locating standard steel reinforcement within 3D printed watersoluble PVA formwork to create non-standard concrete columns. Each column is eight-inches in diameter and hour feet tall and reinforced with five standard #3 reinforcement bars. Methods from the prior fabrication investigations were adapted for larger-scale construction including the introduction of the tool head with the 1.2 mm nozzle. The Woven column design advances the research presented in Dissolvable 3D Printed Formwork using a new and larger nozzle for desktop scale fabrication. The aforementioned HS+ tool head reduced printing time ant this design explore how geometry can be used to mask the location of the standard reinforcement through the appearance of woven “strands” of concrete. Additionally, the design removes any interior concrete that is not necessary to provide minimum rebar coverage, reducing the material used. Initial research plans included 3D printing continuous molds with a KUKA-1100 industrial robotic arm. Although as a result of the COVID-19 pandemic lab access ceased. Since this was the first time that the robotic arm would be used for 3D printing it was determined that a design the used a single, continuous toolpath would be used so material retraction would not need to be considered. Since the quarantine left desktop fabrication as the only option, a design which required retraction as a result of its apertures was explored. This design exploration resulted in the Aperture column. This Grasshopper definition placed various openings in locations where rebar was not present. My Contributions: • Developed the Grasshopper definition that aided in designing the form of the column. • Aided in the creation of the diagrams.
Top, Polyvinyl Alcohol (PVA) Formwork Bottom, Rockite Cast utilizing the above formwork.
Top Left, A small, inflatable pool was purchased to dissolve the PVA formwork from the column. This process took a few hours. Both the Woven and Twisted Columns’ formwork was dissolved using this process. Top Right, the three columns after casting: Woven, Twisted, and Aperture. This photo was taken in June when the Aperture Column was still enclosed in its PVA formwork. Bottom, The diagram above indicated how the mold was segmented for desktop fabrication on the LulzBot TAZ 6 FDM printer with the HS+ tool head. Each drum indicates a single print.
Left, the Aperture Column was exposed to six months of weather conditions. The images at left correlate with the weather conditions from June-December 2020: high and low temperature, relative humidity, and precipitation. A drought in July and August was followed by above average precipitation in SeptemberNovember. Right, As a result of the remote fabrication, it was possible to leave the Aperture Column outdoors for six months to determine if it was possible to dissolve the formwork solely through exposure to weather. The image at left is the column immediately after casting in June of 2020. The image at right was taken in four months later in October 2020 after four months of exposure.
MASHRABIYA 2.0 2018 International Masonry Institute’s Joan B. Calambokidis Innovation in Masonry Design Competition Young Architect/Engineer Category Winner Collaboration with Shelby Doyle, Leslie Forehand and Nick Senske Summer 2017 Mashrabiya 2.0 is an evaporative façade design that updates vernacular architecture traditions with 3D printed ceramic assemblies. Mashrabiya are common Arabic lace screens, crafted from an array of small wooden parts, which control light, airflow and privacy. Mashrabiya 2.0 adapts these functions while addressing the performative limitations and materiality of traditional mashrabiya. Instead of a wooden screen, this project proposes a series of ceramic modules to provide evaporative cooling. Three modules: column, truncated cone, and hemisphere, are designed with a woven pattern that produces micro-pores on each piece, allowing for the passage of air through the screen. A Grasshopper script applies data from environmental simulations (DIVA) to generate an optimal sun-shading configuration of modules for a particular architectural application. Once a configuration is determined, the specified ceramic pieces are printed and bonded to 3D printed flexible gaskets. These sub-units are then stacked on a punctured piping system that is designed to spray water vapor onto the bisque fired unglazed ceramics, actively cooling the spaces as air passes through. My Contributions: • Developed the units and their GCode • Printed all of the units and the flexible gaskets. • Developed Grasshopper definition that ran the DIVA simulations. • Aided in the development of the DIVA diagrams
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Right, exploded axon assembly detail. 1 & 2 To produce a two-material gasket, the designs were printed on a LulzBot TAZ 6 with a LulzBot TAZ FlexyDually Tool Head v2 combining standard white ABS with NinjaFlex, a polyurethane (TPU). 3 Between each ceramic module a gasket cushions compressive forces and creates a seal. In combination with a PLA center, the gasket provides lateral stability and helps align the internal piping during installation. Shown here before firing. 4 The ‘almond’ colored TPU blends with the bisque fired ceramic and becomes integrated into the final design.
Pipe
Water Vapor Column Module
Truncated Cone Module
ABS NinjaFlex
Holes for Water Vapor
Hemisphere Module
4” Gasket
NinjaFlex
2” Gasket
Left, ceramic facade shading applied to a standard double-hung window. Right, ceramic facade shading applied to a curtain wall section.
Standing Eye Level
Ceramic Facade Seated Eye Level
Water Piping
Water Piping
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Heat Glass Ceramics
Diagram of daylight and solar gain in Mashrabiya 2.0 system.
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Simulation of Mean Daylight Factor with standard double-hung windows.
Simulation of Mean Daylight Mashrabiya 2.0 system installed.
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A full scale facade mock-up was assembled from 140 individual units to display the gradient of assembly potentials.
SEKI Collaboration with Shelby Doyle, Kelly Devitt and Ingrid Lilligren Summer 2018 SEKI is a collection of eighty unique vases designed for President Wendy Wintersteen’s Installation by Shelby Doyle, Erin Hunt, Kelly Devitt, and Ingrid Lilligren. Each vase represents the integration of custom-made glazes with computational designs and 3D ceramic printing. The process began with producing a digital 3D model of each vase using a series of algorithms to create sets of geometry. From these digital models, code was produced which directed a ceramic 3D printer to deposit clay in thin layers, one layer at a time to produce the vase. Once complete the vases were dried, fired, glazed, and fired again. The palette of glaze colors was inspired by ISU’s University Museum’s Iowa College Pottery collection thereby connecting advances in ceramic technology to its history at ISU. My Contributions: • Developed the Grasshopper definition that was used to design the eighty vases. • Aided in the design and fabrication of the vases. • Developed line drawings of the ceramic 3D printers toolpaths.