Caustics Research

PORTFOLIO

BY TEAM CAUSTICS

Francois Mangion, Shuchi Agarwal, Ran Yan, Ali Zolfaghari (Bartlett School of Architecture RC2)

why?

[Analysing light as architecture] These images are the refraction patterns formed when light asses through various shaped and formed plastics, glass or liquid. By careful control and manipulation of the forming process, semi-regular patterns and delicate tracery can be achieved.

The effects we studied are determined mostly by basic geometric shapes and small undulations of surface topography which when illuminated under specific lighting produce amazing caustic effects. Although artists have projected such patterns in the past onto screens and walls, there has been little experimentation using photography and digital simulation.

All our research work has been on practical experimentation with digital simualtion backing and the evaluation of hundreds of objects either found or created. The most important part of the system to show these patterns is light which was feeding us all sorts of caustic patterns for us to explore, develop and expand in the field of architecture.

RC2_Choreography of light

CONTENTS

1. Why? 2. The Caustic Analysis

2.1. Analogue Analysis

2.2. Digital Analysis 3. Evolution of Caustics 4. Physical Analysis

4.1. Layered Models

4.2. Surface Deformation 5. Caustic Networks

5.1. Composition of 3D shapes

5.2. Surface Deformation 6. Archiglace

RC2_Choreography of light

AN ALO GUE

Analogue analysis of refraction patterns formed when light passes through various shapes and everyday objects made of plastic or glass. By controlling and manipulation of the direction of light, orientation of objects and different types of light sources we started forming semi-regular patterns and delicate tracery.

Also the integration of liquid and coloured plastics into the tested objects, modifies the way the plastic refracts light and hence the associated varies. Here we are using digital cameras to capture the light projected by the object itself onto a screen surface.

Below_ Caustic pattern projection from a patterned glass cup using a white directional light source.

SURFACE ANALYSIS CAUSTICS ANALYSIS THROUGH CUP (CIRCLES)

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1. Close-up of initial surface analysis of patterned glass caustics 2. Detailed close-up of light caustics 3. The integral caustic pattern projected from the tested patterned glass.

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1. The integral caustic pattern projected from the tested patterned glass.

2. Close-up of initial surface analysis of patterned glass caustics 3. Detailed close-up of light caustics

Below_ Caustic pattern projection from a patterned glass cup through liquid & coloured plastic.

SURFACE ANALYSIS CAUSTICS ANALYSIS THROUGH COLOURED PLASTIC

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1. Caustic interaction of analysed glass surface & coloured plastic.

2. Close-up of the projected caustic pattern projected by the 2 surfaces.

3. Photographic analysis of multiple mayers of materials. Glass-Liquid-Coloured Plastic

Most modern rendering systems support caustics. Some of them even support volumetric caustics. This is accomplished by raytracing the possible paths of the light beam through the analysed material, accounting for the refraction and reflection.

Photon mapping is one implementation of this. The focus of most computer graphics systems is aesthetics rather than physical accuracy and hence we are using a computer generated tool, usually appreciated for its aesthetic characteristics, to obtain a more accurate and analytical study.

Some computer graphic systems work by “forward ray tracing� wherein photons are modeled as coming from light source and bouncing around the environment according to rules. Caustics are analysed through basic geometric shapes of curvature and recording the shift in the projected caustic curves, position of object, light source and angle of incidence. In the region of study sufficient information is recorded to further understand what shapes give which type of caustic curves, determining if there is a direct path to the light source and how this changes.

DIG ITAL SIMULATION

DIGITAL SIMULATION BASIC SHAPE BASED RESEARCH

Position A

Position B

Position B

Side

1. CYLINDER

Position A

Position B

Side

2. SPHERE Position A

Position A

Position B

Position B

de

Side

3. CRESCENT

Position A

Position 2

Position A

Position A

Position A Position B Position B

Position C

Elevation

Light Position 1

Side

Side

Position 3

Position 3

Position 2

Plan

5. ELIPTIC

Position 1

Plan

6. RHOMBIC

Plan

Plan

Light Position 1

Position 1

Plan

Light Position 1

Side

Plan

Position 2

Position 1

Light Position 1

Plan

4. CONE

Position 2

Position C C Position

Elevation Elevation Elevation

Side

Position C

Plan

Position 1

Position B

Position B

Position 1

Plan

Position 1

Position 4

Position 2 Position 2

Side Position 3

7. LANCEOLATE

Plan

Rotate X

Change Position

Rotate Z

Side

8. OVATE

Position A

Position A

Position B Position B

Position C Position C

9. CUNATE

A Position B A C

Position B C

Front

Plan

Rotate Y

Plan Change Position Rotate Y

Rotate Y

Object Position 1

Position A

10. SPATUALTE Change Position

Plan

Plan

Change Position

Elevation

Light Position 1

11. TORUS

Plan

Light Position 2

SHAPE ANALYSIS CAUSTIC SIMULATION OF LINEAR SHAPE

5. LINEAR

Position 1

Plan

Position 1

Position 2 Position 2

Position 3

Side

Plan

Side

SHAPE ANALYSIS CAUSTIC ANALYSIS OF RENIFORM SHAPE

12. RENIFORM Position E

Position D

Position A

Position C

Position B Position E Position A

Side

Plan

Position D

Position E

Position A

Position C

Position B

Position A

Side

Plan

SHAPE ANALYSIS CAUSTIC ANALYSIS OF STAR SHAPE

13. STAR Object Position 1 Object Position 1

Position A Position A

Position B Position B

Position C Position C

Elevation Elevation

Light Position 1 Light Position 1

Light Position 2

Plan Plan

Light Position 3 Light Position 3

Light Position 2

SHAPE ANALYSIS CAUSTIC ANALYSIS OF HASTATE SHAPE

Object Position 2

15. HASTATE

Light Position 1

Object Position 2

Light Position 2 Light Position 3

Elevation

Light Position 1

Light Position 2 Light Position 3

Plan

Plan

EVO LUT ON of CAUSTIC CURVES

Using computer simulation, caustic curves are mapped and analysed through a consistant shifting of both the x and y-planes.

The basic geometric curves are recorded, the shift in the projected caustic curves, position of object, light source and angle of incidence are recorded. In the region of study sufficient information is recorded to further understand the evolution of caustic surves, determining if there is a direct path to the light source and how this changes with distance.

SHIFT ANALYSIS CAUSTIC CURVE EVOLUTION FOR STAR SHAPE TILES LAYOUT 1

SHIFT ANALYSIS CAUSTIC CURVE EVOLUTION FOR RENIFORM SHAPE TILES LAYOUT 1

SHIFT ANALYSIS CAUSTIC CURVE EVOLUTION FOR HASTATE SHAPE

PHY SIC AL ANALYSIS

layered models

Each individual layer of plexi glass is cut into a geometric shape representing the caustic pattern recorded. When put together they create a gradation in shape with each level of the composition. The construction motivates the viewer to walk around it to see how it is built and how the additive elements on one side create the depth on the other. The model together becomes a study of light as a volume in space. The geometric shapes become a changing illusion three dimensionally.

PHYSICAL ANALYSIS LAYERED MODELS

CAUSTIC CURVE EVOLUTION

Caustic curve evolution

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1. Layering model used to analysing the evolution of the caustic curve.

2. Close-up detail of the caustic curve development.

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1. Side view of the layered model showing clearly the caustic curve transition.

2. Front view of the layered model showing clearly the caustic curve transition.

PHYSICAL ANALYSIS HOLOGRAM MODEL

Caustic curve chosen to generate the hologram

Graphical representation of hologram

Graphical representation of hologram

1. The hologram model showing the volumetric qualities of a caustic curve.

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2. Side view of the hologram model 3. Front view of the hologram model

PHY SIC AL

With the aid of grasshopper, the analytical caustic curves were used as deformers hence obtaining a 3 dimensional representation of the light curve itself which, in turn, gives us the ability of further analysis.

ANALYSIS

surface deformation

PHYSICAL ANALYSIS SURFACE DEFORMATION

SURFACE DEFORMATION_1

SURFACE DEFORMATION_2

SURFACE DEFORMATION_3

SURFACE DEFORMATION_4

Plaster Mould for Glass Casting

Plaster Mould for Glass Casting

Plaster Mould for Glass Casting

Plaster Mould for Glass Casting

Milled Surfaces generated from the caustic curves, used to produce plaster moulds for the glass surfaces.

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1. Initial assembly of the milled surface mould for the plaster.

2. Moulds ready to be filled using a mixture of plaster & quartz.

3. One typical plaster mould to be used for the glass surfaces.

1. Plaster moulds with glass powder & granules, placed in the kiln ready to bake for 60hrs

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2. Internal view of the kiln and moulds using 2 types of recycled glass; powder & granules.

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3. Breaking of the plaster moulds to remove the glass surface after 60hrs of baking.

The resultant glass surfaces to be tested , showing clearly the fundamental resulting difference between the powder and the granulated glass.

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1. Glass surface 1 2. Glass surface 1 tested over light (showing an inverted representation of the caustic curve they were generated from)

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1. Glass surface 2 2. Glass surface 2 tested over light (showing an inverted representation of the caustic curve they were generated from)

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1. Glass surface 3 2. Glass surface 3 tested over light (showing an inverted representation of the caustic curve they were generated from)

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1. Glass surface 4 2. Glass surface 4 tested over light (showing an inverted representation of the caustic curve they were generated from)

Using digital simulation and analogue analysis, custic networks are created and analysed through 2 basic methods of analysis.

1. Combination of 3D shapes 2. Direct Surface Deformation The basic geometric caustic curves are recorded depending on the surface generated from. In the region of study sufficient information is recorded to further understand the transition of caustic curves, determining if the end result was direct combination and repetition of caustic curves or if a proper caustic network was generated.

NETWORKS CAUSTIC

ANALYSIS

CAUSTIC NETWORKS COMBINATION OF 3D SHAPES

resultant caustic patterns [not caustic networks]

Network combination of crescent shape

3D shape combination network testing

1. resultant caustic patterns generated from a combination surface [not caustic networks] 2

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2. resultant caustic patterns generated from the rotated combination surface [not caustic networks]

CAUSTIC NETWORKS SURFACE DEFORMATION_ CIRCULAR BUMPS

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Network of surface with circular bumps

CAUSTIC NETWORKS SURFACE DEFORMATION_ MULTI-DIRECTION BUMPS

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Network of surface with bump in 2 directions

Caustic networks projected from alternating bumps surface

CAUSTIC NETWORKS

SURFACE DEFORMATION_ ALTERNATING BUMPS

Caustic networks projected from alternating bumps surface

CAUSTIC NETWORKS SURFACE DEFORMATION_ SPIKES

MATERIAL RESEARCH

MATERIAL ANALYSIS ICE CAUSTIC ANALYSIS

Rectangular Ice Surface (120mm x 300mm x 25mm)

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1. Initial testing of light caustics in ice 2. The thin tile of ice tested for light caustics generated.

3. Close-up view of ice caustics.

ARCHIGLACE

BY TEAM CAUSTICS

Musée National des Beaux-Arts du Québec

Francois Mangion, Shuchi Agarwal, Ran Yan, Ali Zolfaghari (Bartlett School of Architecture RC2) Connor O’Grady, May Wu, Emad Ghattas (Waterloo Architecture)

2013

Modulated ICE_SURFACE was created by students from RC2 (UCL Bartlett School of Architecture) and Waterloo University collaboration in Canada by Francois Mangion, Shuchi Agarwal, Ran Yan, Ali Zolfaghari (Bartlett School of Architecture RC2) and Connor O’Grady, May Wu, Emad Ghattas (Waterloo Architecture) The project’s scope was a full-scale ice installation that transformed the traditional approach towards the application of ice in architecture. Part of Archiglace (a.k.a. Inclusions) at the (MNBAQ), in association with the Quebec Winter Carnival, Caustic ICE_SURFACE explores ice as a primary construction material. The installation seeks to enhance and transform the visitor’s expectation of ice application through visual conditions of figuration, lighting, materiality, texture, possible coloration, and corporeality. Revealed only through a single opening in the museum corridor, the installation accompanies the visitor’s visual background along a walk through all the other installations, gently lifting vertically from the yard’s ground, and undulating as the ornamented foreground of the old Museum’s internal Façades. The project sensitively engages occupants through its formal description of proximal and cuspate peaks while elegantly dissipating into the surrounding snow at its edges.

ICE_SURFACE

CA US TICS

Photography_ Francois Mangion

Finding a way to build incredible structures using just ice. In an attempt to find light caustics with ice structures this practice led to specific technique of working exclusively with “tiles” of frozen water. The enchantingly frosty structure start off with only 4 different types of frozen “tiles”.

Above_ Initial visual proposal

The design investigated both, the abstract mathematical constructions of undulating surfaces, and the rich tectonic and ornamental potential of the fascinating yet contradicting versatility and “uncontrollable� nature of ice, hence fully embracing its seductive and surrealist attributes.

Right_ Analysis of light caustic patterns projected using ice

In doing so, the design aimed at generating a new definition of superficial interiority in architecture by articulating a loose and modulated network that challenge the conventional divisions of wall and ceiling, surface and space, monolithic and discrete, opaque or clear, monochrome or coloured, figure and figuration.

As a Digital Fabrication Studio, Team Caustics as part of RC2 was concerned with developing this ice project throughout all phases of design, fabrication and installation including the development of a coherent tectonic and assembly system, intricate detailing and affluent materiality.

DESIGN PROCESS & DEVELOPMENT

Above_ Initial proposal included a waffle sub-structure to help support the ‘tiled’ overall surface

Above_ First Modulated Surface proposal without a sub-structure; linear directional undulations.

The first proposal for Modulated Surface was a result of an investigation into surface development through the use of only four modulated ice tiles with varying curve degrees which when fit together would create uni directional waves of varying heights. This digital to analogue feedback was aimed in creating a platform to advance segmented fabrication processes ensuring the completion of the installation while preserving all of the desired design ideas.

PRO CESS

CON STRU CTION

Photography_ Dali Xu

MODULE FABRICATION, ICE CASTING & ASSEMBLY

The Modulated ICE_SURFACE final installation is comprised of four unique tiles types; totalling 90 tiles fabricated using custom designed moulds. All of these four modules are square in shape with inter dependency through their flexible rotational and mirroring logic. Once aggregated, these four tiles form a larger meta-tile [40cm X 40cm], which is then duplicated and rotated to systematically grow into a larger field condition based on the concept of self supporting dome structures.

FABRICATION LOGIC COMPRESSIVE ICE TILE CONSTRUCTION

Traditional ICE cube

Thickness: 20mm

Experimental ICE tile

FABRICATION LOGIC ONDULATED SURFACE LAYOUT TILES LAYOUT 1

TILES LAYOUT 2

TILES LAYOUT 3

FINAL TILES LAYOUT

Layout Plan

Layout Plan

Layout Plan

Layout Plan

TILES ORGANISATION MODULES SCHEDULE MODULE A

Size: 220 x 220mm Thickness: 20mm Curvature: 130mm

MODULE B

Size: 220 x 220mm Thickness: 20mm Curvature: 93mm

Above_ Process of Fabrication of the Moulds used to make the ice tiles.

MODULE C

Size: 220 x 220mm Thickness: 20mm Curvature: 77mm

MODULE D

Size: 220 x 220mm Thickness: 20mm Curvature: 129mm

TILES ORGANISATION MODULES LAYOUT

A

B

C

D

The tessellation of the surface modules is further enhanced by achieving the thinnest thickness of the ice possible for the eventual surface to be self-supporting. This coherence approach in size and thickness creates a sense of continuity in the finished surface.

ICE_SURFACE consist of a finite number of tiles each of them with a distinct curvature yet interdependent,the tiled surfaces are not textured yet the subtle natural crystallization pattern within the ice itself affects the overall finished surface. This aspect of inner crystallisation of ice was made possible by the rapid freezing process of the tiles inside a freezer. Customized techniques and methods of coloration were analysed but not implemented to further define the abundant material effect of these thin ice tiles.

Above_ Tiles Aggregation: Individual Tiles Layout

ASSEMBLY LOGISTICS

Step A

Step B

Step C

Step D

LAYERED CONSTRUCTION

ICE_SURFACE structure consists of a centralized cross-arc spine suspended from the ground on four sides; with transverse perpendicular appendages further supporting the load distribution in the tiling. This structural logic, paired with the minimal thickness of the modules allows the construction to calibrate temporary supports designed as boxes that were used for the initial moments of assembly and removed once the joints were adequately frozen.

Left_Laying the tiles illustrated in Step A to form the foundation of the cross-arc spine.

Right_ Continuation of assembly using temporary framework as boxes for support.

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These pictures illustrate the steps taken to make one ice tile.

Photography_ Shuchi Agarwal

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Initial testing of different methods of assembly for the moulds was done to determine the most viable and time efficient method.

Photography_ Emad Ghattas 1. Assemblage of the top and bottom parts of the vaccuum formed plastic moulds was done by adding screws at equal intervals on all four corners to hold the two pieces together.

2. Silicone was applied only onto the top pieces of the moulds to allow for the moulds to be disassembled easily and be reused.

3. Clay was used on the edges of the assembled moulds to make it water tight. The moulds where then put into the freezer for around 6 hrs to make the ice tiles.

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Photography_ May Wu

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1. The process of making the cardboard boxes with unique curvatures on the top; The curvature illustrated comes from the study of interconnections between four tiles at the point of placement of the box.

2. The placement of the four cardboard boxes was pre-determined at equal distances according to the design of the surface. To make them reusable, duct tape was applied as a waterproofing method.

3. The moulds of each ice tile consisted of two halves. The top and bottom half which fit together to create one module. The picture displays the method used to make the moulds water tight by using silicone.

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Since each tile’s relation with the next was based on edge conditions, it became exceedingly important to get perfect edges for each tile.

The four edges of each tile of ice was cleaned using a method of melting.

Using a heated piece of metal, the ice was melted until clean edges of ninty degrees were acquired.

Photography_ May Wu & Francois Mangion

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1.Individual ice tiles were connected by ‘gluing’ them together using snow and water. The gaps were filled with snow and hot water was poured over it to melt the two edges into one unit.

Photography_ May Wu & Emad Ghattas

4.For additional temporary support, snow walls was constructed along the cantilevered edges of the tiles. All the snow was removed once the assembly of the surface was complete

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The success in the construction of the ICE_SURFACE exemplifs the premise that the usage of only ice as a material for construction is feasible with the extensive study and experimentation between the design and properties of ice.

Photography_ Francois Mangion & Emad Ghattas

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ARCHI GLACE Francois Mangion, Shuchi Agarwal, Ran Yan, Ali Zolfaghari (Bartlett School of Architecture RC2) Connor O’Grady, May Wu, Emad Ghattas (Waterloo Architecture)

Photography_ May Wu

Musée National des Beaux-Arts du Québec

Photography_ Francois Mangion

Photography_ Francois Mangion

Photography_ Francois Mangion

Photography_ Francois Mangion

Photography_ Francois Mangion & Emad Ghattas

Photography_ Francois Mangion