Computational Design, Craft, and Digital Fabrication Portfolio by Faezeh Sadeghi

Computational Design, Craft, and Digital Fabrication Portfolio December 2023 | Faezeh Sadeghi

|Microsoft Office |Graphic Software

Photoshop - InDesign - Illustrator - Lightroom

|SKILLS|

|PERSONAL SKILLS|

|Photography |Reading |Travelling

Learning is a lifelong journey

|TECHNICAL (IT) SKILLS|

2009

PROJECTS

2 01 0

THE FLOW Teamwork | Academic Work | Master Studio

| Patterns of Interaction, Generative Design, Computational Architecture |

SEA-VSISION COMPLEX

Individual Academic Work |B.Arc. Graduation 05 Project | Recreational Complex, Computational Design | 2

2 01

HINGE WALL Team Work | Digital Fabrication Workshop

2015

2014-2023

2014

| Wooden Wall |

CRAFT PAVILION Teamwork | Computational design & Digital Fabrication Workshop

| Pavilion |

BÉZIER SATAIR

2019

Teamwork | Robotic Workshop

| Stair |

TRILLIUM Teamwork | Academic Work |

2019

| Bending Active structure |

MATERIAL INFORMED SYSTEM Individual | Academic Work |M.Sc. Thesis

2022

| Material System development, Generative design, 17 Computational Architecture, & Speculative design |

CONTACT

3 4 5 6 7

The Flow

Shock Waves and Turbulence

Fall 2019

Team Work / Academic Work

Master Studio

Instructors: Toni Kotnik, Pia Fricker Luka Piškorec, Kane Borg

CONTRIBUTION TO THE PROJECT

MY ROLE

Analysis of wind, water, and sound flow disturbances in the vector field environment influenced research further on different behavior patterns.

Idea Development Modeling + Simulation Modeling + Scripting Rendering Post Production + Visualisation Diagram Design Animation Development

NATURE

Combination of Different Turbulence Pattern

NATURE ECOSYSTEM (from existing topography)

WIND F LO W

ARTICULATION OF TURBULENCES THROUGH PATTERNS - vector field

Design is provoking to think about the changing, evolving landscapes when nature and urban life are working together as a system providing constant new solutions and visual changes like the growth, and reformation of the wetlands. The designer is creating guidelines, while natural predicted and unpredicted processes continue to design the human surrounding. Water and air relation of the surface creates larger and smaller turbulences where the flow structure of those consists of high and low speed regions, which form and reform into different combinations (Banerjee, 2019). Many turbulent occurrences are visible in nature which affect urban environments in everyday and occasional dangerous cases (avalanches, storms with irregular winds, extreme wave amplitude changes and etc.). The Hernesaari area is surrounded by water from three sides while the Northern border is a connection with the mainland of Helsinki. The site is constantly affected by wind and water flows.

URBAN

WIND FLOW

ECOSYSTEM`S THROUGH

CITY`S

CITY

INDUST RY

URBAN

Team: Faezeh Sadeghi Egle Pilipaviciute Amir H.Teymourtash

INDUSTRIAL

In order to understand how identified patterns are influencing each other and create turbulences of their own, we used a vector field that changes direction based on given forces. The final result is not static, but rather a dynamic system that constantly alters based on new triggers. The pattern also visually represents two different environments of distortion: the natural (more shifts and curves) and the urban (more linear and rigid). We challenge this division and later experiment with how both can work together creating more diverse environments where natural and urban elements are part of the system and influence each other’s behavior: form, movement, flow, and collection. 01

The System of The Design

Urban life is another reason of turbulence with political, economic, social fluctuations that influence the development and it`s parameters. Decisions that are aiming to improve the life of the humanity create collisions between sectors. In addition, street life, transport movement creates waves that transfer and distribute between obstacles and influence further environments and their atmospheres. Furthermore, the intangible relations of mixing cultures, characters, communal or individualistic goals creates the turbulent drive to shift and change the surroundings. All these urban life elements are shock waves constantly affecting city`s structure. Project analyses how different flow patterns and parameters can influence density, topography and landscape design solutions while creating unique places that relate to existing and newly set boundary conditions. The rain flow and snow clustering analysis gives an inspiration for design solutions which enhance the attraction of a public space, promote the integration of ecosystem services on a wider scope while also influencing landscape formation. The aim of the design is to create ecosystems that can sustain themselves and thrive in the urban setting while providing water filtration and natural sedimentation. Design is provoking to think about the changing, evolving landscapes when nature and urban life is working together as a system providing constant new solutions and visual changes like the growth, reformation of the wetlands. Designer is creating guidelines, while natural predicted and unpredicted processes continue to design the human surrounding.

Pattern Transformation

DENSITY TRANSFORMATION

BUILT DENSITY TRANSFORMATION

GREENERY CLUSTERS IN WETLANDS

GREENERY IN WETLANDS

Using the heatmap of curvature and density analysis we transformed the results into two main elements: built environment and topography. The topography created from the curvature relaxes built structures (dot pattern) by the z (height) value. The higher elevation - the more relaxation on the “built”.

DENSITY (ALIGNMENT )

DENSITY

PATTERN ANALYSIS

INNER

OUTER

MIXING STRATEGY FOR FUNCTIONAL DISTRIBUTION OUTER BOUNDARY CONDITIONS

CUR VA TURE

CURVATURE

PATTERN ANALYSIS

BUILT ENVIRONMENT

MIXING STRATEGY FOR FUNCTIONAL DISTRIBUTION INSIDE BOUNDARY CONDITIONS

TOPOGRAPHY

PATH S

GENERATIVE PATHS FROM OPEN SPACE

Agents on a surface were used to analyze a topography and find potential corridors of movement, and also areas of inaccessibility. A 1:20 rule was taken into account to make paths that are comfortable for people in wheelchairs, older people, and everyone else. Based on this regulation, a script was created that would send a swarm of agents– old ladies and people in wheelchairs– across a landscape, and from this analysis, a designer could then perhaps better understand potential access and barrier points.

Loop after 140 rounds. Final generation.

BUILT ANALYSIS: overlaps and clusters

OVERLAP / CLUSTER

SNOW COLLECTION CLUSTERING

RAIN WATER COLLECTION DISTRIBUTION ,

BUILT ANALYSIS: heights

HEIGHTS

RAIN FLOW AND SNOW CLUSTERING ANALYSIS

SEA-VSISION COMPLEX Summer 2017

Individual Work/ Academic Work B.Arch. Graduation Thesis

Instructors: Dr. Saghafi Location: Bandar Abbas, Iran

Modeling Scripting + Solar Analysis (Ladybug Plugin) Rendering Post Production + Visualisation Diagram Design 3D printed Prototyping

Form finding The harshest time of the year for living in Bandar Abbas is the summer. Due to high humidity, it is really hard to tolerate the heat, thus the comfort zone is either maintained by decreasing the heat or steady rate of wind which is needed to provide the necessary circulation. Needs for circulation, the beauty of waves, and the reflection of the lights though they led me to look for a dynamic shape as if the waves of the sea have shaped it. Accordingly, the formation started in both physical and digital prototyping. The hands-on prototyping was done by use of clay with the inspiration of waves in the Persian Gulf. And the 3D designs were developed based on the site analysis and solar analysis. Using geographical analysis with the application of a plugin of ladybug in the medium of the grasshopper and designing specific patterns in order to meet the required needs of circulation, light, heat, and view were the significant aspect of my design.

Agenda In my bachelor thesis, I tried to use the power of algorithmic procedure to go beyond the ordinary design and design by considering the geographical and cultural aspects of Bandar Abbas which is on the southern coast of Iran, on the Persian Gulf. It has hot and humid weather. This design tries to be a statement about our need to understand the climate changes and to face them instead of running away. I decided to design a sustainable recreation to make the atmosphere of the Persian Gulf more lively. In this design the outside and inside is integrated not only in developement of shape but also in experiencing the nature of sea in interiors.

Formation

Adjustment of the windows The orientation of the roof and form were adjusted to block direct sunlight from entering the space, as it would be too sharp in that area and disturbing for the fishing complex users while using the natural lighting with special patterns of windows to make the sense of the sea and the reflection of light in water in the building.

Pattern Development

No light - Shadow under the Oriented Roof Smaller Windows Less Direct Light

More Windoes More Daylight

Ground Floor Plan 1 Entrance 2 Swimming Pool (for Men) 3 Swimming Pool (for Women) 4 Aquarium

5 6 7 8 9

Sand Ground First Aid Room Storage Sea Sports Praying Room

Structure

Design Development

The concrete shell structure was chosen for the project. This shell is composed of a relatively thin shell of concrete that wrap the interiors. This construction technique is suited for complex curveed architecture since allows wide areas to be spanned without the use of internal supports and creates an open and unobstructed interior

The services and mechanical spaces are located in the lowest level of the building. The entrance and the public spaces are located in the floor ground. The access to the first floor, museums, galleries and coffe is available through the ground floor. The transition of nature from landscape to architecture is shown in the interior views.

Concrete Shell Main Shell Form Internal Supporter Floors Arrangement

Functional Diagram

Section View A-A

Interior Views Toward Sea

HINGE WALL

Individual Project / Wearing a flat cardboard

FALL 2015

Individual and Team Work

Fablab - Center of Excellence Architectural Technology (CEAT) Instructors: Dr. Ramtin Haghnazar Team Project: Oveis Shahnaee, Saman Aboutorab

CONTRIBUTION TO THE PROJECT

MY ROLE

Modeling Modeling + Scripting Diagram Design Fabrication + Contruction

Living Hinge Method

The process of creating a 3-D object from a flat sheet of material began by developing a small-scale object individually. I decided to utilize laser cutting to smooth flat cardboard and create a hat. My goal was to design and tailor a hat by cutting circular arrangements of straight lines in varying scales. In addition to creating a three-dimensional volume from a flat, rigid material, I aimed to create a cutting pattern that could generate multiple styles of wearing.

For the most part, laser-cut objects consist of flat panels that are either cut or etched before being assembled into a final configuration. There is another way to use laser cutting to create 3D objects from materials, and it uses a clever design element called a Lattice or Living Hinge. It is more common to see makers and hobbyists using Living Hinges in laser-cut wood because the properties of this material allow for a significant degree of flex before the material fractures.

Inner Junction Spring Connection

Torsional Links Width Torsional Links Length

Hinge

Unsupported Length

Hinge

In the 6-day workshop, we have been asked to design and construct hinged lumber on a scale of 1 to 1 by using a wooden sheet. Our group decided to design and implement a final product by focusing on the capabilities of the hinge. This led us to design a wall with a shape that was needed to create a parametric hinge.

Smoother Detail, components, and Function

shorter

Sharper Longer

Design Phase

120

As the hinge length increases, the bending rate increases. As a result, we adjusted the parameters to the hinge length increase gradually from up to down. Also, we found by cutting the smoother line, we can control the panel more and we have less change in the lattice. It made us use another attractor point in designing. In the width we adjusted the inner junction edges, it was sharper in the middle of panels where we were going to have the most convexity to the smoother one in the edges to have no change.

45 CM 270 CM

90 CM

PLAN VIEW

90 CM

ELEVATION VIEW

Torsional Links Length Increase Torsional Links Width without change

As the cutting lines are smoother, the hinges of the wooden sheet are less As the length of the hinge increases, the bending ability of the sheet increases

CRAFT PAVILION

Design

Summer 2016

Team Work / CRAFT Workshop Instructors: Zubin Khabazi, Mehran Davari Location: Tehran, Iran Team project: (Names at www. Tehrancraft.com)

CONTRIBUTION TO THE PROJECT

MY ROLE

Modeling Modeling + Scripting Diagram Design Robotic Fabrication + Contruction

By ‘Re-Envisioning Candela’, the idea is to study the intricacy as well as technicality and methodology of his work and to push it towards the further computational design of the shell/ surface geometries. Using the strategies like hyperbolic paraboloid geometries and ruled surfaces to generate ultra-thin shell structures, the aim is to see the potentials and embed them in the design of composite surface geometries. The Conoid is a type of ruled surface that can be represented parametrically by: X=v Cos(u) | y=v Sin(u) | z= Sin n(u)

N=2,4,6,.... | u,v=0~n(pi)

Agenda The agenda is to further push the fabrication of curved surfaces with composite materials. However, the design studies of the work will be shifted from pure mathematics to the work and legacy of Felix Candela which still features a good deal of math and geometry in his works.

Los Manantiales restaurant

Analysis of Shell Structure In the finite element stress analysis use is made of newly developed linear, quadratic, and cubic, variable thickness, elements based on axisymmetric Mindlin-Reissner shell theory. An integrated approach is used to carry out the whole shape optimization process in a fully automatic manner. A robust, versatile and flexible mesh generator is incorporated with facilities for generating either uniform or graded meshes, with constant, linear, or cubic variation of thickness, pressure etc. The mid surface geometry and thickness variations of axisymmetric shell structure are defined using cube splines passing through certain key points. Variable linking procedures are also included. Sensitivity analysis is carried out using either a semi-analytical method or a global finite difference method. The objective of optimization is the weight minimization of the structure. Pavilion Size: 420 cm* 420 cm* 340 cm

Design procces from conoid

FE analysis of shell structure

Variable Thickness of Shell

Fabrication: Sandwich-Structured Composites

Material Research prototypes

Based on the fabrication strategy,

Customized SandwichStructured Composites was used

for the construction of the project.

Hrdener/ Acid

Resin

In terms of material system, the focus was on Sandwich-Structured Composites, which is one step further than the normal fiber composite surface. Sandwich structured composite are helping to strengthen the load-bearing/ bending-resistance capacities of the composite and make it a suitable method for making functional curved surfaces.

+ +

Material System

Activator/ Cobalt

Chopped Fiber

Polyester resin will dissolved foam so it is necessary to cover the foam before applying resin. We found out that polyvinyl acetate can protect the foam dissolving against the resin.

Cobalt

500ml 2.0 ml 2.0 ml

Chopped Fiber

50 gr

Resin

Acid

Cobalt

500ml 2.0 ml 2.0 ml

Chopped Fiber Resin

Resin Acid

Acid

Acid Cobalt Chopped Fiber

Cobalt

500ml 2.0 ml 2.0 ml

Chopped Fiber

75 gr [ 02 ]

Resin Cobalt

500ml 2.0 ml 2.0 ml

150gr [ 03 ]

Chopped Fiber

100gr [ 04 ]

500ml 1.5 ml 2.0 ml

Resin Acid

500ml 2.0 ml 1.5 ml

Resin Acid

[ 01 ]

100gr [ 05 ]

Cobalt Chopped Fiber

+ polyvainyl acetate

175gr [ 06 ]

The coating is the first step of manufacturing the panels. At this step, first Polyvinyl acetate was applied up to 5 layers on the foam. Then, after drying the polyvinyl layers (about 24 hours), the layers of resin and chopped fiber were applied on both main sides if panels. The panels were ready to be assembled after 24 hours.

Applying the layer(s) of Polyvinyl acetate on foam blocks

Preparation of the resin

Applying the layer(s) of resin on the foam

Applying the layer(s) of resin on the fabric

Assembeling the carton structure as a supporter Assembeling the 93 panels

Subdivision The next step was subdividing the finalized model into the panels. Subdividing the model was necessary due to foam block and the Hot-wire›s length and its rotation limitation. Thus, the proportions of each panel must have been less than 0.5*0.5*1 meter With these limitations in mind, we came up subdivide with using isocurves of surface considering the limitation of foam block›s size.

The Hot-wire›s 1000mm.

lenght

was

Using a evolutionary algorithm with octopus in grasshopper we managed to optimize to subdivision for the minimum number of pieces possible.

Since the foam block dimentions had to be less than 577 mm, we chose them to be 500 × 500 x 1000 mm

We also had to subdivide the surface using isocurves so we could use the panel›s edges to produce a new ruled surface for each panel.

KUKA KR 240-150 with a hotwire cutter tool

BÉZIER STAIR

Robotic Light Printing

Summer 2017

Individual and Team Work Tehran Robotic Architectural Matters “TRAM” workshop Instructors: Sina Mostafavi, Shabnam Hosseini, Hasti Goudarzi

CONTRIBUTION TO THE PROJECT Idea Development + Final Design Modeling + Simulation Modeling + Scripting Visualisation

Team project: Faezeh Sadeghi, Ali Dehghani, Parto Jahangiri, Mahshid Moghadasi, Amir Hossein Zarin Rad, Masoomeh Hosseinzadeh

Diagram Design Robotic Fabrication 3D printed Prototyping

MY ROLE

As the first exercise with the robot, light printing was used as the medium to illustrate the tool path, and translate digital lines to movement. A point light source was used as the end effector and the robot›s movement was mapped with long exposure photographs. This Experience was done in a small group of 2. My teammate and I tried to develop a dynamic path to employ all the ABB robot’s axis.

Isometric View

Plan View

Stair The stair is not only an element to go up. It is not an element to connect different levels. It is only a rigid element that «HAS TO be there». But in «Platform 28» it cannot be defined in its general format since there is no other level. Therefore, it is considered as an exhibited object, a piece of art that is going to be «watched» not used.

Platform 28

The wave-shaped forms by application of the sinusoidal waves with the help of a grasshopper were generated to challenge the robot in cutting customizable shapes. The combination of different formulas and their application in different directions ended with the various shapes with a combination of bumps. The shapes were in variable scaled details to study the potential of robotic cutting.

The studio focused on generative modeling and robotic crafting of 1:1 stair prototypes as complex architectural fundamental elements. Manifestation of this research and process are prototypes, exhibited at “Plat-form 28” from a computational design point of view, stairs are nested for-loops with which one may explore complex and performative configurations.

330 cm

Individual Project / Customizable Robotic Cuts

Site: Platform 28

Too Tight

Single Level

180

Product: Stair

Showroom

Heavy & Rigid

Connecting Level

Exterio Structure

Thickness Variation

The shapes were designed generatively with variable sine waves that scaled and redirected throughout the block. Some of the designed prototypes were cut by the ABB robot and it shows in the following figures.

ABB 1400

Design Space

Design Design Power-Line

Creating Pattern

Bézier Stair

Formation Diagram

Design Development

This complexity can be understood as multi-scalar architectural heterogeneous patterns integrating structure, function and aesthetics.Stair is typically an element to connect different levels and to facilitate vertical circula-tion. However, in "Platform 28", where the final prototypes where going to be ex-hibited, this concept cannot be defined in its general format as there is no other level. Therefore, the final stair is considered as an exhibited object, a piece of art that is going to be "watched" not used.

The formation started with a simple curve that fit the best with the plan of the exhibition space, platform 28 and to formed to provide an interesting view from the outside.

The design development was actually a back-and-forth process to create surfaces and components that were producible by the tools we had: A hot Wire Cutter and Expanded Poly Styrene foam.

The initial design 170 cm

170 cm

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170 cm

111

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333

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process with ABB robot process with ABB robot process with ABB robot

process with ABBprocess robot with ABB process robot with ABB

Subdivision

agram Every component was created using iso-curves

of each surface of the form in a way that hypar forms resemble the steps, and therefore each component is a step. Components were cut independently with

s createdhot using iso-curves of each of therobot after wire cutter with the surface aid of ABB simulating ypar forms resemblethe thecuts steps,with andgrasshopper. therefore step. Afterwards, the joints were designed and placed in the appropriate positions. ut indepently with hot wire cutter with the aid of ating the cuts with grasshopper. were designed and placed in the appropriate

m shows the components and joints seperately.

Detailed view of the components and the cutting tool path

Detailed view of the joints and connections

Component 5 and 6 Coming Together

Digital Fabrication process and assembly Afterward, the joints were designed and placed in the appropriate positions. The following shows the cutting steps of each surface of a single component. Because of the limited time of the workshop, although all the components were perfectly simulated, 6 out of 12 pieces were hot wire cut.

Fall 2019

Team Work / Academic Work / Aalto University Instructors: Kirsi Peltonen, Marco Rodriguez, Markus Holste Team: Faezeh Sadeghi Calvin Guillot

CONTRIBUTION TO THE PROJECT

MY ROLE

Idea Development Diagram Design Animation Development Craft + Construction

We are all in a continuous process of evolution and transformation. Our ideas, feelings, experiences, and emotions change over time, as do our interpretations of those changes. We move from one state to another, evolving and mutating—from softness to hardness, from light to dark, from openness to closeness, from the artificial to the organic. ‘Trillium’ is an exploration of the concept of maturing. The piece reflects on the idea that the only constant in life is change.

Side View

Plan View

TRILLIUM

Design Overview Our concepts revolve around exploring the diverse ways in which mathematics, architecture, and art can collaborate to create systems or experiences that offer observers varying perspectives of themselves and the environment. We are particularly intrigued by how these systems undergo transformations based on factors such as seasons, sunlight, observer viewpoints, and the emergence of complexity from simple rules. The objective is to craft self-forming modular structures that rely on material properties such as elasticity, stiffness, and dimensions. These structures, bending actively, present different appearances when viewed from various angles and perspectives.

Constructed from wicker material, specifically willow, these modules operate independently but interact with each other, giving rise to the final shape of the module. Our main inspiration stems from the symmetries inherent in nature, drawing from elements like flowers and tree branches. We also find inspiration in the intricate weaving patterns found in textiles and handicrafts, as well as the spatial relationships explored in projective geometry. Our main inspiration were the symmetries found in nature, like flowers and tree branches, the intricate weaving patterns found in textiles and handicrafts, and the spatial relationships found in projective geometry. 15

Mathematical Idea Our primary objective was to craft a modular piece that could incorporate various mathematical concepts. We focused on dynamic symmetries found in nature, exemplified by the trillium flower, as well as projective geometries and emergent forms. Firstly, the equatorial modules exhibit a 3-fold axial symmetry, with six modules on the XY plane, each undergoing a 60-degree rotation around the center of the piece. Additionally, the top and bottom modules along the Z-axis mirror each other. Three modules for each hemisphere rotate 120 degrees from the center, contributing to the overall symmetry. Secondly, we explored the self-forming minimal curve resulting from the bending of the willow material. Each curve is unique, ensuring slight variations and minimizing tension until reaching equilibrium. Lastly, the shadows cast by the piece, varying with the time of day, serve as a nod to projective geometries. The completed structure comprises a total of 12 identical modules, each crafted from 10 willow sticks. All 120 willow sticks were interconnected, giving rise to a self-formed structure through the weaving of natural straight sticks, each measuring 350 centimeters in length and averaging 1 centimeter in thickness. The dimensions of the final piece are approximately 200 centimeters in height with a diameter of 150 centimeters.

The final product is crafted from only two materials: Willow (Salix schwerinii) serves as the structural component, while jute fiber (Corchorus olitorius) is employed to bind and tighten the willows together. The structure avoids the use of extra joints or any artificial materials. This intentional choice aligns with one of our primary goals — deriving the entire essence and composition from nature. Our aim was to create a sustainable piece with minimal waste, allowing us to experiment with the architectural potential of natural materials. 16

MATERIAL INFORMED SYSTEMS:

DYNAMICALLY TRANSFORMABLE GROWING STRUCTURES AND ARCHITECTURAL SPACES FROM “ENDLESS” MEASURING TAPE

Fall 2022

Individual Work/ Academic Work M.Sc. Graduation Thesis

Idea Development

Supervisor: Prof. Günther H. Filz

Modeling + Scripting

Modeling

Rendering Post Production + Visualisation Diagram Design

Strip material, which is forming specific patterns, is widely used in architecture and engineering to generate highly efficient, but lightweight and therefore sustainable structures. However, material, as we know it from measuring tapes, concave-convex strip, is usually not considered for construction. Such tapes have two predominant and unique features, firstly, they have high extension stability due to their concavity, and secondly, they are extremely thin and can be rolled to a small, compact dimension. So, measuring tape fabricators aim for both, the highest possible inflection points by the concavity of the tape, and the optimal running smoothness, which relies on the planarity when rolled. This master thesis explores possible constellations and structures from a single, “endless”, concave strip — a measuring tape— with the aim to satisfy both abovementioned requirements.

The Measuring Tape, a readymade product The measuring tape is a readymade, mass-produced product that has phenomenal features besides its obvious function as a measuring device. To the best of the authors’ knowledge, it has been never used for architectural structural purposes and on an architectural scale. The development of the tape measure has an interesting history from flat strips from various materials to the concavely shaped metal strip compacting in a small case as we know it today. (Bailey K. Davis, 2011; Scarborough, 2019) After 100 years of experiments and innovation mostly on the locking system of the tape measures to hold the strip in the desired place in 1922 Hiram A. Farrand invented pocket tape measures without any locking mechanism. Farrand improved the selfstanding tape by changing the cross-section from flat to an open cross-section of concave-convex with significant structural and geometrical potentials. (Farrand, 1922; Bailey K. Davis, 2011; FieldForms, 2022) Accordingly, the term of “standout” was introduced to describe the feature of self-standing of the tape, which became the most predominant and unique feature of tape measures. “The «standout» is defined as the metric distance a tape measure›s blade can be extended before it bends or ‹snaps›”. (Ribrosco, 2020)

Figure 1 A transverse cross-sectional view taken through a portion of the blade when the blade is in a stiff and straight configuration; John C. Murray’s patent, 2001 U.S. Pat. No. 6,243,964 B1

Image: John C Murray. 2001. Rule assembly with increased blade standout. USRE39719E1, issued 2001.

Figure 2 Shape changing in bent part, “kink”, From concave-convex to planar, side view

Figure 3 (Left) Movable kink in a linear motion through a fix length of tape by moving hand in a circular motion

The kink The tape has a curved cross-section and a straight line in a longitudinal way. By bending the tape through its weak axis, this changes by °90 in the bent part. That is the cross-section transforms into a straight line from a curved one, and the longitudinal section transforms into a curved from a straight line. We named the bent part “kink”. As illustrated in Figure 2, the “kink” is perpendicular to the longitudinal axis of the tape. Because of the flexibility of the tape, the kink can dynamically relocate its position by transferring along its longitudinal axis, Figure 3 (Right). As mentioned, a kink can appear at any point of the tape by bending through its weak axis by exceeding the standout length or by introducing force that is equal to or beyond the tape´s standout length. This bending can be introduced from both sides the concave and convex, whereas the results from testing the concave side are specified by manufacturers. Even though both sides were tested in our experiments, the concave side was considered more meaningful and therefore further on considered as significant. 17

Exploration of bundling, branching, nodes, and polyhedral structures

The emergence of architecture and structure employing the “signs of life”

Our research approach adopts a material-centric perspective. Viewing the material system not only as a pre-manufactured structural element or artistic readymade but also as a key driving factor in the design process. To uncover the potential of the material system. The exploration was carried out through an iterative prototyping process, encompassing three main streams: (i) the development of components and investigation of their proliferation, (ii) the use of continuous tape to create an adjustable composition with the environment through repeated loops (differential growth of the tape), and (iii) the application of branching and bundling logic in the creation of structures.

Based on the structural testing and combined with the previously mentioned aspects of the kink and modes of connection, obviously bundled constellations bear a high potential for the formation of spatial polyhedral structures by branching and connecting. The process of form-finding was completed by the development of the generative real-time design system through a computational tool in order to implement the logic of growth, sensing, and adaptation. Accordingly, the Grasshopper coding app was employed to create a generative design system in order to not only analyze and rationalize the boundary conditions but also generate infinite designs in response to defined conditions. The developed generative system is a recursive branching system based on the L-systems, which was introduced in 1968 by Aristid Lindenmayer, which is a grammar-based system to simulate the recursive pattern of growth. The L-system is a parallel rewriting system that involves three main components of the alphabet, axiom, and rules that are used to determine the process of self-similar (re-)generating. (Prusinkiewicz and Lindenmayer, 1990)

Figure 4 A diagram of the matrix of proto-types with various ap-proaches and applied assembly methods

A numerous constellations of single tape and bundles of two to four and more tapes investigated. A hollow cross-section, which is assembled from three tapes with outward concaveness as shown in Figure 5 (a) turned out to be ideal from many perspectives. The cross-section is forming a stable shape of a spherical triangle and performs well as a profile and structural beam element. As illustrated in Figure 5 every single tape can turn into a branch (Figure 5 (b)). This way a node with four branches can be formed by combining this bundled element with three further tapes (Figure 5 (c)). Accordingly, the node evolves exactly at the position where all individual tapes have their kinks. Such nodes are movable due to the features of the transferable kinks of the individual tapes. Moreover, due to the mechanism of the nodes the direction of branches can dynamically adapt by changing the angle of kinks. Accordingly, the structure is kinematic and it can actively and reactively adapt. As a result, the movable nodes provide the feature of transformability and adaptability to the future design of architectural spaces and structures, which is beneficial for developing seemingly unlimited possibilities for spatial structures as illustrated in Figure 5 (d).

These systems were devised to not only model the morphology but also describe the pattern of development of a diversity of living organisms. In order to showcase the application of the L-system in modeling the natural systems, in this case study trees, as well as the influence of altering the components of the L-system in the diversity of outcomes, examples of the two-dimensional tree structures illustrated in Figure 6. (Shiffman, 2012)

d Figure 5 (a) Tangential connection (b) Branching by bending (c) Rotation of branches (d) Spatial developability in ultimate space

Figure 6 Examples of plant-like structures generated by bracketed OL-systems. L-systems (a), (b) and (c) are edge-rewriting Image: Shiffman, Daniel. 2012. The Nature of Code. D. Shiffman.

Structural Testing The bundling of tapes in a certain order is beneficial for the resulting structural capabilities, which is confirmed by the result of our structural testing. For testing bundled tapes, both setups for the concaveness, namely concaveness down and concaveness up as shown in Figure 7 were considered and compared. The load case considered was predominantly dead load, which is 20 grams per meter of a single tape. Figure 8 illustrates and compares the increase of length of the «standout» as well as the deflection of the cantilevers. In this case we compare a bundled cantilever from three tapes with a single-tapes cantilever, considering dead weight only. In our tests the bundled cantilever from three tapes has a standout of 300cm, which has almost tripled ompared to a single-tape cantilever but the amount of deflection has not increased significantly. Assuming dynamical changes of the 3-dimensional structures into new configurations by transferring nodes, finding the efficient lengths for branches is a demanding task. Since the metric length and buckling length differ according to the type of support and simultaneously, such a branch can be both a cantilever or a simply supported beam, the range of safe configurations and length needed to be determined. As graphs show in Figure 9, the effective bucking length (L) for bundled tapes is assumed 300 cm in both simply supported and cantilever branches based on all results from structural tests.

c Figure 7 (a) Single Tape, concaveness up (b) bundled tapes, concaveness down (c) bundled tapes, concaveness up

Despite the continuity of tape through the structure and integration of nodes and branches, the structure is considered a node-based structure since it emerges from linear elements and nodes. The use of a single material, the tape, and a single profile throughout the entire structure provide both structural stiffnesses in the branches and flexible, adaptable, and multifunctional nodes, making the spatial configuration transformable but stiff in all positions. The tapes can be disassembled, compacted, and then reassembled in a new location without loss of material, which offers both an extended life cycle of the material and the option of always new site- and space-specific bespoke configurations. Compared to the structure, the compacted tapes occupy extremely small volumes and therefore they can be easily stored before being transferred to new sites. The spatial development of the structure, as shown in Figure 10, includes 4 nodes and 13 branches, which are based on the system of bunding and branching.

Figure 8 Cantilever single tape (100cm) vs cantilever bundled tapes, concaveness down (300 cm)

The Algorithm feeding emergent architecture with technical information Accordingly, the reactive system was developed in order to allow designing spaces where the structures can grow according to the implemented principles by dealing with the freedoms and limitations of provided boundary conditions actively. That is the design is flexible and the structure can actively adapt its form in a process of growing by multiplying and keep branching off in interaction with its environment. The process and the design can also be limited by predefined surfaces and volumes which can be also at the same time attractor point. The final form is flexible as well as tailor-made based on the defined parameters. Accordingly, there is no randomness in the code, and all the structural properties including angles and length consequently the direction of growth are derived from a real-time interaction of the structure with its environment. Therefore, the generated speculative structure is somewhere between a mathematical fractal tree and the result of interaction with design conditions and environmental stimuli categorized into allowed, not-allowed, and target objectives, illustrated in Figure 11. In developing the diagram of stimuli, the categorized stimuli are used to employ the architectural design objectives and hypothetical conditions. As a result, the diagrams are utilized as input for the algorithm in order to generate a tailor-made outcome.

Figure 11 The implemented stimuli in the generative design tool, (a) Allowed space (b) Not-allowed space (c) Target surface

Figure 9 Effective buckling length (L) of bundled tapes subjected to loading weights, (a) cantilever, (b) simply supported

Figure 10 The prototype of structure by use of tape measure, includes 4 nodes and 13 branches

The proposed designs are developed across different architectural scales, including an indoor pavilion emerging between walls and roofs, and a bridge whose structure is grown to support its span. The diagrams of stimuli used to generate the speculative designs are illustrated in Figure 12 and Figure 13, with the results of the designs being shown consequently. 19

The speculative design of floating habitable spaces: a snapshot

The “growth” of the structure was initiated by positioning four points adjacent to four trees, similar to seeds. With “growth” we mean the implementation of above-mentioned technical possibilities and restrictions, which lead to the formation of spatial, polyhedral configurations. Such possibilities and limitations include the bundling and branching of beam elements, possible nodes, and branching angles in space, the maximum standout before a conjunction with another cantilevering branch is necessary and so on. The diagram stimuli indicating the “allowed” and “not allowed” spaces and surfaces are shown in Figure 16. As designers, we define allowed spaces that limit the structure to grow.

Figure 14 Elevation view of the suspended accommodation above the generated corridor

Figure 15 Diagram of stimuli for generating the suspended accommodation

Figure 12 (a) Diagram of stimuli for generating the pavilion, side view (b) plan view of the generated pavilion (c) Isometric view (d) perspective view of the generated pavilion

c Figure 13 (a) Diagram of stimuli for generating the bridge, side view (b) Side View (c) perspective view of the generated bridge

Figure 15 perspective view of the suspended accommodation

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