innATURAL
an individual research project on the use of computational design tools and digital fabrication processes for smallscale wooden structures.
The Glasgow School of Art/ Mackintosh School of Architecture Master in Architectural Studies pathway: Digital Creativity student: Georgios Karampelas Tutor: Dr. Raid Hanna year: 2013-14
contents Introduction research questions and objectives research methodology tools & software
Computational Design Digital Fabrication
methods strategies tools + machines
section it! vertical waffle radial
discussion
The shelter inspiration site analysis concept drawings the algorithm form finding
epilogue discussion/further work references
“...Architecture depends upon its time. It is the crystallization of its inner structure, the slow unfolding of its form. That is the reason why technology and architecture are so closely related. Our real hope is that they will grow together, that someday the one will be the expression of the other. Only then will we have an architecture worthy of its name: architecture as a true symbol of our time� (Mies van der Rohe, 1950)
introduction
A
rchitectural production has been rather unsuccessful at keeping up with technological advances. While other scientific and technological fields radically evolved through the past century, architecture did not find a way to incorporate and integrate the evolutionary knowledge applied in other industries. The widespread of digital tools for designers was a milestone but while it did change dramatically the way architects design, it was not enough in order to change the way buildings are constructed. Nowadays, contemporary architecture has managed to keep pace with other scientific fields and participates in a collaborative environment where ideas and processes from one field are tested and applied to others. This research by design project raises questions about the relationship between digital and analog design procedures, between natural and artificial environments as well as the role of craftmanship in contemporary architecture. A high priority is also given to physical model making as a means of understanding, testing and optimizing the design idea. The aim is to explore and investigate the application of computational design tools in combination with digital fabrication processes. More specifically, particular emphasis is given on a specific method of fabrication, ‘Sectioning’, considered as one of the most affordable and effective ways of manufacturing.
RESEARCH QUESTIONS AND OBJECTIVES
This research by design project, raises the following questions: - what is the relationship between analogue and digital environments and processes? - how algorithmic design affects the design and documentation of architecture.
The main objectives of the thesis are: - explore the multiple variations and possibilities that advanced architectural design softwares (CAD) and Computer-Aided Manufacturing (CAM) technologies offer to the designer.
- what is the role of craftmanship in a digital-oriented world?
- develop a better understanding about complex geometries and fabrication processes through analogue and digital media.
- how CAM technologies and digital fabrication processes contribute to architectural design and construction?
- achieve a significant level of knowledge in computationally designed, small-scale, wooden structures.
METHODOLOGY 1. FORM FINDING I begin with exploring prototype design forms and concepts. I utilize the ability of computational design to offer numerous versions of an initial element in order to produce variations and develop different case-study forms. Each of these forms is a potential solution. 2. DESIGN Additional parameters and factors participate in the algorithim design process. Structural design, material characteristics and aesthetic considerations enrich the initial form finding and indicate new solutions. 3. FABRICATION The chosen design is further optimized, drawings as well as documentation data for the fabrication of a 1:50 scaled model are produced.
TOOLS + SOFTWARE
RHINOCEROS 3D is a 3D modeling software, developed by Robert McNeel & Associates, that specializes in NURBS modeling. Rhinoceros 3d gained its popularity in architectural design in part because of the Grasshopper plug-in for computational design. GRASSHOPPER is a graphical algorithm editor tightly integrated with Rhino’s 3-D modeling tools. Unlike RhinoScript, Grasshopper requires no knowledge of programming or scripting, but still allows designers to build form generators from the simple to complex.
“One of the most important features of digital design is in its capacity to develop complex curvilinear geometries, a relatively difficult feat using traditional design and construction processes.� - Nick Dunn
Computational Design
Computational Design is a further subset of modelling software that “enables the designer to define relationships between elements or groups of elements, and to assign values or expressions to organize and control those definitions� (Dunn, 2012). The underlying principle in this process is the connectivity and relationship between different elements of the design. The designer can -at any time- intervene by altering the values or the equations that form the relations between elements and the effects of these changes to be reflected directly, in a visual environment. Another key aspect of computational design is the ability to produce variations by producing multiple iterations in the initial design.
Parametric design is not unfamiliar territory for architects. From ancient pyramids to contemporary institutions, buildings have been designed and constructed in relationship to a variety of changing forces, including climate, technology, use, character, setting, culture, and mood. In contrast to traditional design methods, computational design (also known as parametric design) focuses on making the system that generates different design options rather than designing the final outcome in a straight-forward way. This phenomenon is what Mark Burry refers to as “designing the design’’ (Burry, 2003). As with every design system, there are positive and negative aspects: the undeniable advantages concern 1) the possibility for the designer to explore novel solutions that may not be distinguishable initially and 2) the consistency of the design solution. On the other hand, it is a time-consuming process that requires a shift in the mentality of the designer, as new concepts and terms that previously weren’t part of the ‘design thinking’ arise.
Patrick Schumacher (2009), partner at Zaha Hadid Architects, in his manifesto for parametricism writes:
“We must pursue the parametric design paradigm all the way, penetrating into all corners of the discipline. Systematic, adaptive variation and continuous differentiation (rather than mere variety) concern all architectural design tasks from urbanism to the level of tectonic detail. This implies total fluidity on all scales.”
digital fabrication Digital Fabrication is a process that joins Design with Construc-
tion through the use of 3D modeling software and additive and subtractive manufacturing processes. While in architecture is a relatively recent phenomenon-emerging over the last 15 years- it has been used in engineering and industrial design for more than 50 years in the development and fabrication of cars, airplanes and other smaller products.
In this process, the sequence of operations becomes the critical characteristic in procedure. Architects can propose complex surfaces, where the properties of materials should push the design. Moreover, this process has facilitated a greater fluidity between design generation, development and fabrication than in traditional approaches, which necessitated a more cumulative, staged process. Another key-characteristic of this method is the fact that allows and positively encourages the making of one-off, non-standard objects and components. As Lisa Iwamoto (2009) describes “for many years, as the process of making drawings steadily shifted from being analog to digital, the design of buildings did not really reflect the change. It took three-dimensional computer modeling and digital fabrication to energize design thinking and expand the boundaries of architectural form and construction.� Perhaps one of the most exciting and radical characteristics of digital design and fabrication is its accessibility to students and researchers, something that constitutes a massive point of interest for academia.
TECHNIQUES The techniques of digital fabrication generally fits into four main categories: CUTTING is perhaps the most accessible and common method. It is also referred as ‘two-dimensional fabrication’. SUBTRACTION takes material from an existing solid volume. The excess material is typically removed through a milling or routing process. ADDITION slowly builds up material in layers rather than steadily removing it. FORMATION utilizes mechanical forces to reshape or deform materials into a required shape.
STRATEGIES The strategies of digital fabrication can be classified into five categories:
Contouring, Folding, Forming, Sectioning and Tesselating. CONTOURING According to Lisa Iwamoto (2009) ‘‘contouring is a technique that reshapes a surface by removing successive layers of material. Analogous to traditional wood and stone carving in crafts and architecture, nowadays contouring is excessively used in order to ‘distort’ the planarity of sheet materials. It is a rather time-consuming process with considerable waste of material.
FOLDING Folding is the process where a planar surface is transformed into a three-dimensional one. It is a valuable method due to both its structural and aesthetic principles. Not to forget that Gille
Deleuze’s theory on ‘the fold’ influenced contemporary architecture more than anything else. Its main characteristic is the continuity of space, surface and form it permits.
FORMING Forming “is tooling through the generation of components from a mold or form, and is more readily applied for the mass production of consumer products”. The mold or form is usually created by using milling techniques. In architecture, it mostly relates to building components such as facade panels and tiles.
TESSELATING Tessellation is a collection of pieces that fit together without gaps to form a plane or surface (Iwamoto, 2009). This strategy is closely relevant to construction as architects and engineers try to achieve large, demanding forms by using standard-sized materials and components. Aesthetically, tessellation is synonymous with patterning.
SECTIONING rather than construct the surface itself, uses a series of profiles, the edges of which follow lines of surface geometry. It is commonly used in airplane and shipbuilding to make doubly curving surfaces. The technique is well suited to the program of shelving and storage and to using readily available sheet materials. This building technique was first adopted in the pre-digital era by architects such as Le Corbusier for the roof structure of the chapel at Ronchamp. Many decades late, Greg Lynn would be one of the first to experiment with digitally generated sectional structures as part of a design methodology. Sectioning is also called “2D fabrication” as it requires two-dimensional materials in to be. The Laser-cutter requires 2D CAD drawings of the elements to be cut. The material also come in sheets, where the thickness is minimal when compared to the other two dimensions. So, throughout the entire manufacturing process, there is a ‘two-dimensional’ approach, something that makes Sectioning being one of the most affordable and easy-to-understand processes.
vertical
horizontal
According to the direction/axis of the section planes, sectioning can be generally classified into 5 categories. Vertical and Horizontal sectioning occurs when the geometry is sectioned according to either X or Y Cartesian axis. Waffle -otherwise called “egg-crate”- sectioning derives from the combination of vertical and horizontal. The Radial sectioning creates cutting planes based on circular paths while the Adaptive method follows the curvature of any given geometry. Finally, there is also the possibility of Random sectioning, which happens when the sectioning planes are chosen randomly.
waffle
radial
adaptive
tools + machines CNC router stands for computer numerical control. Through a computer controller, G-codes are read, representing specific CNC functions in alphanumeric format. The g-codes drive a machine tool, a powered mechanical device typically used to fabricate components. CNC machines are classified according to the number of axes that they possess. CNC machines are specifically successful in milling materials such as plywood, foam board, and steel at a fast speed.
Laser-cutting machine is a machine that uses a laser to cut materials such as thick paper, cardboard, acrylic sheet, thin metal sheets, slim wooden veneers or composite sheets.. CAD is used in the production of lines on a grid, which would be sent to the laser cutter. Lines can either cut through the material or score it depending on the color of the line drawn. Objects cut out of materials can be used in the fabrication of physical models, which will only require the piecing together of the parts.
CNC milling machine removes material from a wooden sheet. The difference between milling and routing relates to the type of drill bit attaches to the cutting head, but the overall apparatus is typically identical.
Rapid Prototyping machine builds up layers using a powder which is bonded together. It is usually done using 3D printing or “additive layer manufacturing” technology.
“It is intriguing to note that this emerging, technologically enabled transformation of the building industry in the digital age has led to a much greater integration of mechanical age processes and techniques into conceptual building design.” (Kolarevic, 2008)
section it !
As part of my RP2, and in order to establish a satisfying knowledge on the computational design tools and software as well as in the digital fabrication processes, I investigated different approaches on Sectioning through a series of small-scale exercises. All the following design experiments focus on the development of an algorithm for the design and fabrication of a conceptual structure. The emphasis here is given on the fabrication process and data handling. The common characteristics on all the three experimentations are the use of parametric modelling (Rhino + Grasshopper) and the possibility for digital manufacturing by using the Sectioning method.
vertical In this exercise, an algorithmic definition is designed for the vertical sectioning of a freeform surface. The input required from the user is: - the base geometry - the direction of sectioning - the distance between the sections - the thickness of the material As output, we have a series of labeled curves/surfaces, ready for laser-cutting. For the horizontal sectioning, the procedure remains exactly the same. The only change in the algorithm is the direction of sectioning which follows the z axis instead of the x or y.
Wae Waffle sectioning, also known as eggcrate method, is one of the most widespread approaches in digital manufacturing. The combination of two-axis sectioning planes provides a high level of structural integrity. The required data from the designer are: - the base surface - the distance between the sections - the thickness of the material The difference on the Grasshopper definition, compared to vertical or horizontal sectioning, is the necessity to create half lap joints (notches) in the ribs for the fabrication.
base surface
sectioning grid
sectioned surface
The definition starts with a base geometry. A rectangular grid is designed and extruded so to intersect the initial geometry.The solid difference between the three-dimensional grid and the Brep (geometry) are the outlines of the sectioning elements. Each closed curve is transformed into a planar surface and then is extruded according to the thickness of the material. In order to create notches at the intersecting points of the ribs, the x-axis ribs have to be moved verticaly by half the thickness of the waffle . At the end, all the ribs are oriented on a plane in order to proceed to the fabrication procees
radial
In this definition, two different approaches of sectioning are combined. The waffle ,which was also analysed in a previous example, and the radial. The required data from the designer are: - the base surface - the distances between the verticalsections - the number of radial sections - the thickness of the material An interesting point in the definition, in terms of design and not fabrication, is the use of a graph mapper in order to generate a series of rotations to the vertical components of the waffle.
discussion
All the aforementioned experimentations are trying to build a design vocabulary based on computational design tools and digital fabrication processes. There are numerous conclusions and notifications that can be extracted by the series of experiments made for the RP2 project. Out of the 3 different examples, the Waffle and Radial seem to have the best structural performance as they both consist of two-axis ribs, a characteristic that definitely contributes to a much higher rigidity of the structure when compared to Vertical. In terms of architectural design aesthetics, the Vertical output has a simplicity and elegance that could be considered more interesting that the “waffle-effect� which does not easily allows for further design interventions and is explicitly restricting due to the grid logic that follows.
the shelter
In his influential work Essai sur l’ Architecture, Marc Laugier describes an elementary edifice involving four living, still growing and rooted in place treetrunks, with lintels composed of sawn logs and branches providing an elementary pitched roof (Herrmann, 1962). Laugier’s intention was not to illustrate an actual house to live in, but a rather conceptual prototpe of an elementary “living hut”.
In order to place my research in a context, I propose the design and fabrication of a small-scale wooden shelter at the Isle of Bute, as part of a wider network of shelters in the Scottish islands.
SSRI The Scottish Scenic Route Initiative was launched in June 2013 and aims to enhance the visitor experience of Scotland’s world famous landscape by creating innovatively designed viewpoints in selected locations. Its strategic objectives are: to provide additional interest and enrich the journey to stimulate economic growth and employment in local rural economies to intensify the experience of place The expansion of this initiative from the mainland to the isles and the programmatic enrichment so to include not only viewpoints but also temporary shelters is proposed.
EXISTING NETWORK Lubnaig Inveruglas Falls of Falloch Cairngorm Park Caledonian Canal PROPOSED NETWORK Isle of Bute Isle of Arran Great Cumbrae
ISLE OF BUTE area: 12,217 hectares population: 6,498 main settlement: Rothesay highest levation: 298 m
Setting the parameters of the design: A series of parameters/limitations are established at the beginning of the design process, not in order to limit but to narrow the research field and allow a more in-depth analysis of the investigated issues. 1. The size of the shelter must not exceed the limit of 80 squared meters. 2. The proposed structure must follow a relatively clear, understandable logic. 3. The main material used for the fabrication of the shelter is wood, including its different types and by-products. (plywood, MDF, OSB etc.) 4. The shelter must provide sufficient protection from severe rain and wind conditions. 5. The fabrication of the shelter must be able to be made by use of either laser-cutting or CNC routing
inspiration Natural environments can be a great source of inspiration and knowledge for architectural practice. After a long-period of a modernist approach, related mostly with the urbanity of architecture, nowadays architecture seeks to relate again with nature and establish new relations with it. The choice of shelter is made in aspect of its small scale and minimum programmatic and functional requirements. These characteristics will encourage focusing on geometry, form and materialisation. The shelter will be a single-space structure, able to host a limited number of visitors. It offers protection from weather conditions and cases of emergency.
in quest of form In this research, form and structure are handled as a pair of factors, each one independent but both integrated in a parametric design environment where the characteristics of the one directly affect the characteristic of the other. The fabrication of the shelter indicates its structure and narrows the spectrum into which the ideal form will be decided. Circle, as a primitive geometry, autonomous and adaptable to almost any landscape formation is preferred. The centrality of the structure also provides higher rigidity as well as symbolizes the sense of community.
in quest of material Wood is one of the most commonly used materials in architecture. It is considered to be ideal for small-scale, deassemblable constructions while it is admired for its undisputable aesthetic value. It can be found in different form in the material industry, from logs to sheets. Wood can have excellent perfect structural and performative characteristics and is widely used by emerging technologies and digital manufacturing. Moreover, it is a highly sustainable and relates well with natural landscapes, where it derives from.
site analysis
Rubh’an Eun [point of the birds] Lighthouse
Glencallum Bay, once a staging post for sailing ships, is part of one of the most well-known walking routes at the southern edge of the Isle of Bute. ACTIVITIES sailing & kayaking birdwatching walking cycling
Ruins of an old inn, last place of refreshment before opening to the wild sea
WALK 6 start: Kilchattan Bay distance: 8km / 5 miles estimated time: 3.5 hours terrain: paths, tracks and open ground map: OS Landranger sheet 63 waymarked: YES (green post with white arrows)
concept
circular form adaptability, autonomy
internal patio wind protection, fireplace, sense of community
programme enter. gather, rest, cook, eat sleep, wc, storage, yard
entrance iconic threshold topological discontinuity
plan
SECTION
elevation
EXPLODED ISOMETRIC
1 / Roof cladding 12X1 cm. 2 / Roof structure 5X7 cm. 3 / External facade cladding 10X1 cm. 4 / Facade panel structure 5X5 cm. 5 / Radial frame structure 7X15 cm. 6 / Wooden flooring 15X2 cm. 7 / Floor structure 5X7 cm.
the algorithm
FORM FINDING One of the key elements of algorithmic design is the opportunity given to the designer to produce ,almost instantly, numerous variations of the initial concept. By altering different parameters of the algorithm, new options emerge that could hardly be available by the use of traditional design techniques.
Case #1 patio height: 2 m 0.6 m < shelter height < 3.0 m wall inclination factor: 1.2 roof graph map:
Case #2 patio height: 3 m 1.0 m < shelter height < 2.0 m wall inclination factor: 1.3 roof graph map:
Case #3 patio height: 0 m 0.5 m < shelter height < 5.0 m wall inclination factor: 0.7 roof graph map:
epilogue There is an ongoing research in contemporary architectural field that is hard to predict where is going to lead us. Experimentation and failure become a second nature for the designer in his effort to deal with handling the complexity not only of the form, but also of the documentation and materialisation. This unstable environment requires flexible and adaptive design systems, and here comes the importance of computational design tools.At the same moment, new materials and manufacturing procedures arise and question the traditional methods of design and construction. Digital fabrication has made feasible -and sometimes- affordable what previously was considered impossible.
This research project sets the basis in a series of arguements about the computationally-oriented digital design tools. The design of a small project in a single alogorithmic design platform constitutes the main concept of this thesis. The possibility for a designer not to draw even a single line manually, but describing and solving the design proposal in a computational context, offers new possibilities but also constraints and limitations. Another key-element of the work illustrated in the previous pages of this research is the shift towards a performative, scientific interpretation of architecture. What I mean is that instead of remaining in the visual aspect of design, the associative environment generates a debate on the behaviour of design solution, in terms of fabricaion, structure, affordability. The opportunity to produce variations in a relatively short amount of time encourages the discussion for alternative solutions and ways of manufacturing.
There are many aspects and considerations that are not included in this research paper, even because they do not belong to the researchâ&#x20AC;&#x2122;s spectrum or because time didnâ&#x20AC;&#x2122;t permit it. Further work would include the integration in the algorithmic process of environmental simulation, structural analysis and fabrication optimization. It would also be helpful to proceed in the manufacturing of a 1:1 model, although such an initiative would be financialy non feasible as part of an academic master thesis.
references
Burry M. (2003) â&#x20AC;&#x153;Between Intuition and Process: Parametric Design and Rapid Prototypingâ&#x20AC;? in Kolarevic B. [ed.] Architecture in the Digital Age: Design and Manufacturing. Spon Press, pp. 147-62. Iwamoto L. (2009) Digital Fabrications, Princeton Architectural Press, New York Dunn N. (2012) Digital Fabrication in Architecture, Laurence King Publishing, London Sakamoto T. Ferre A. (ed.) From Control to Design, Actar-D, New York Kolarevic, B. & Klinger, K. (2008) Manufacturing Material Effects: Rethinking Design and Making in Architecture, Routledge Schumacher P. (2009) A new Global Style for Architecture and Urban Design, AD/ Architectural Design- Digital Cities, Vol.79, Iss. 4, July/August Mies van der Rohe L. (1950) A speech to IIT, in Johnson P. 1953, Mies van der Rohe second edition, Museum of Modern Art, New York Jabi W. (2013) Parametric Design for Architecture, Laurence King Publishing, London Herrmann W. (1962) Laugier and Eighteenth-Century French Theory, London.