portfolio
DS10
GEORGIA|COLLARD-WATSON
SYSTEMS | 1
ramin razani
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weaving
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three dimensional weaving
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parabolic curves
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strip module curved forms
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strip module curved forms
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strip module curved forms
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strip module curved forms
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strip module curved forms
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supportive tensile forms BURNING MAN |
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design concept
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first design proposal
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first design proposal
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providing shelter
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1:2 physical model
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1:2 physical model
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1:2 physical model
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technical drawings
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visualisations
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technical drawings
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visualisations
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prefabrication
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construction
contents|PORTFOLIO
paper art | ramin razani Ramin Razani is a paper artist creating original origami-inspired models and artwork. With the techniques of folding and cutting, Razani combines the elements of light and handcrafting which together bring to life his geometrically abstract and architecturally figurative creations. Razani’s work examines mathematics and geometry, the origami becoming a powerful instrument of transformation, moving from 2D to 3D creation using the support of a simple material such as paper. Here I have recreated some of Razani’s work in order to develop a deeper understanding of the correlation between 2D cutting patterns and their resultant 3D forms. Through the three principles of folding, cutting and rotating, complex three dimensional forms can be created.
the genesis of the arc | ramin razani
origin | ramin razani
ramin razani|SYSTEMS 01
weaving | Weaving with Looms A loom is a device used to weave cloth. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics can vary. Linear Interpolation Linear interpolation is a method of curve fitting using linear polynomials. If the two known points are given by the coordinates and, the linear interpolant is the straight line between these points. Here I have used the above two concepts to create a series of 2D woven systems. I have principally explored means of implying curvature using linear members. Additionally, I have incorporated layering, using different coloured threads, to explore the different patterns achievable on each loom arrangement.
weaving system 01 | plan view
weaving system 02 | plan view
weaving system 03 | plan view
weaving systems | layer build up construction
weaving|SYSTEMS 02
weaving| introducing the z axis Following my earlier experiments with woven systems in 2D, here I have introduced a third vertical axis to transform the systems into three dimensions. System 01 is more successful when viewed from the side, as the string pattern begins to imply a curved profile, System 02 explored an additional design feature of a woven mesh surface. Both systems begin to examine the idea of implying an enclosed space using multiple linear members.
3D woven system 01 | front elevation
3D woven system 01 | side elevation
3D woven system 01 | detail
3D woven system 02 | plan
3D woven system 02 | front elevation
3D woven system 02 | perspective view
3D woven system 02 | detail perspective
3D woven system 02 | side elevation
3D weaving|SYSTEMS 03
creating curves from straight lines | PARABOLIC CURVES In mathematics, a parabola is a conic section, created from the intersection of a right circular conical surface and a plane parallel to a generating straight line of that surface. Another way to generate a parabola is to examine a point (the focus) and a line (the directrix). The locus of points in that plane that are equidistant from both the line and point is a parabola. The line perpendicular to the directrix and passing through the focus (that is, the line that splits the parabola through the middle) is called the “axis of symmetry”. The point on the axis of symmetry that intersects the parabola is called the “vertex”, and it is the point where the curvature is greatest. Parabolas can open up, down, left, right, or in some other arbitrary direction. It is possible to reposition and rescale any parabola to fit exactly on any other parabola — that is, all parabolas are similar. Here I have created an implied parabola through dividing two of the three sides of an equilateral triangle and then drawing lines between the topmost and bottom most points. I have then scaled this resultant shape to observe how the parabola is affected. I then repeated and rotated the parabola to create overlays, forming seemingly complex geometric patterns.
scaled by factor 0.5 along y axis
equilateral triangle
scaled by factor of 2 along y axis
uneven axis
scaled by factor 0.5 along y axis
equilateral triangle
scaled by factor of 2 along y axis
uneven axis
parabolic curves|SYSTEMS 04
creating curvature with linear modules | physical modelling Stemming from my investigations into implying curvature using linear members, I have chosen to explore this further using strip elements. Using the simple geometry of 2D regular strips in creating seemingly complex three dimensional curved forms has the benefit of producing no material wastage and whilst also imposing a design constraint to work with. This page periments strips at over each
documents my initial exachieved when fixing the one end and twisting them other in a sequence.
system 01 | cutting pattern
system 01 | untwisted form
system 01 | elevation 01
system 01 | elevation 02
creating curvature with linear modules | physical modelling This page illustrates a second form achievable using the same strip modules twisted in a different way. This demonstrates the possibilities offered through using this simple technique.
system 02 | cutting plan
system 02 | elevation 01
system 02 | elevation 02
strip module curved forms|SYSTEMS 05
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creating curvature with linear modules | physical modelling
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Expanding this concept further, I have referred back to the work of Ramin Razani for inspiration and introduced the cutting of additional notches into each strip module.
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This technique has facilitated far more bending possibilities as each module can be slotted into the previous at varying points along the bent form, thus creating different degrees of curvature.
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Whilst the resultant form was unexpected, I feel its aesthetics are rather beautiful. The form of a smaller curve twisted into a larger curve has proved extremely effective and offers the observer a new experience from each angle it is viewed.
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MOVING THE CUTTING POINT 6
Having established a form I was happy with, I have experimented with the location of the cutting points; observing their effect on the three dimensional form.
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Upon observation, I feel the proportions of system 02 are the most successful.
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system 01 | cutting plan
system 01 | resultant form
system 01, 02, 03 | cutting plans
system 01, 02, 03 | resultant forms
system 02 | identifying the beauty
strip module curved forms|SYSTEMS 06
scaling up and applying a new material |
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scale factor: 1.7 material: 0.8 x 400 x 720mm plywood This was my first experiment applying a larger scale and new material to my original card form. In order to achieve the degree of flexibility necessary to form the tight curvature required, the ply had to be steam bent (I did this over a pan of boiling water). As the curvature of each strip is different, it required me to build up the form piece by piece, each time bolting the new piece at the top, steaming to form the first bend allowing the notches to fit together, then steaming a second time to form the second curve to allow the second bolt to be fixed. As this process was repeated, the curvature became progressively tighter and thus required a longer period of steaming and far more pressure applied to force the ply into the desired form. On its completion, I observed that I had unknowingly been building up the latched notes on the inner side of the curve as opposed to the outside (as in my original card model). This error occurred as I had been assembling the structure piece by piece. I much prefer the aesthetic of the original model with regards to this error as it allowed the beauty of the construction to be expressed more effectively, celebrating the changing curvature and twisting of the notches which this model does not.
system 01 | cutting pattern
system 01 | 7 strips
identifying the beauty | scale factor: 1.7 material: 0.8 x 400 x 720mm plywood Each photograph serves to document a different element of beauty that I see in this ply model. Overall Form: I find the relationship between the large curve form and the small curve form very intriguing, as they appear to echo each other yet introduce an element of counterpoint - a duality between two interrelating forms that are in essence one. Overlapping: I find the layering of each ply strip, where each is notched to the last in a twisted fashion, to create a very effective aesthetic.
strip module curved forms|SYSTEMS 07
scaling up and applying a new material |
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scale factor: 2.9 material: 0.8 x 500 x 1220mm plywood This experiment shows a further scaling up of the system, resolving the error of the previous form where the notches developed on the inside of the curve. Whilst scaling up in both the x and y axis, I made the error of not scaling in the z axis, not increasing the thickness of the ply. This error was fatal and the resultant form was far too flexible in all directions, a problem that could have only be resolved through laminating the strips to thus increase the thickness.
system 02 | cutting pattern
system 02 | view 01
system 02 | view 03
system 02 | view 05
system 02 | view 02
system 02 | view 04
system 02 | view 06
system 02 | front elevation suspended and subject to gravity
system 02 | side elevation suspended and subject to gravity
system 02 | rear elevation suspended and subject to gravity
system 02 | side elevation suspended and subject to gravity
strip module curved forms|SYSTEMS 08
identifying the beauty |
system 02 | overlapping curving notched joints
system 02 | spiraling inner form
system 02 | overlapping curving notched joints
strip module curved forms|SYSTEMS 09
experimenting with supportive tensile systems | combining tensile members and curved forms Here I have begun to investigate the possibility of combining both linear tensile members with curved strip elements. The thread is used to suspend parts of each form, thus introducing an element of defying gravity. I believe the visual effect to be very successful; with the two differing components of string and the curved strips combining harmoniously to form a single aesthetic whole.
system 01 | side elevation
system 01 | perspective view 01
system 01 | perspective view 02
system 02 | front elevation
system 02 | side elevation
system 02 | perspective view 01
system 02 | perspective view 02
supportive tensile forms|SYSTEMS 10
shipwreck | design concept ‘Shipwreck’; a plywood pavilion beached upon the sands of the Black Rock Desert by the retreating Quinn River. A standing edifice of the primal force of the elements, abandoned in a remote location with a lost past, with stories to tell. A site of exploration and discovery, slowly a microcosm is born with the wreck as its host. Gone are the fanciful images of trunks of gold and silver, the rewards of this stranded vessel are immaterial. A habitat that can support life; create a new history and purpose for itself, offering those whom choose to accept it a place of calm and rest as it diffuses the currents of the prevailing winds that pound it and provides shelter from the intensity of the sun’s rays. Interactive on several levels, ‘Shipwreck’ stands as a piece of event architecture; a spatial construct where movement around it is transformational. Whilst it offers a temporary reprieve from the elements, it is ultimately a place to gather, encouraging intimate social interaction between new and old friends.
shipwreck 01 | shelter bay, oregon
shipwreck 02 | the pesuta, queen charlotte islands
black rock city | rainy season
‘CAVE’ An intimate, semi enclosed space providing shelter from the elements; both the high wind levels and strength of the sun during the day.
‘HAMMOCK’ An all embracing seating platform; a place to lounge, worship the sun’s rays and gaze at the sky.
design concept | the cave
design concept | a design of two halves
design concept | the hammock
design concept|BURNING
MAN 11
first iteration of proposal | physical model 1:20 The form of my proposal stemmed from my initial twisted ply concept model. The double concave form offered multiple opportunities for space making and different means of occupation. When twisted, the resultant strip ply form implies both a cave and a hammock; the cave offering a place of shelter and the hammock a place to relax under the sun. The tension cables were introduced to both support the hammock structure and imply spatial enclosure around its occupants. On reflection, I feel the design lacks cohesion; the glulam arch feels too dominant and alien to the rest of the structure. It would also incur practicality issues in terms of transportation and lack of stability. Whilst this initial proposal does display some problems, I believe the twisted ply form to be very successful and have aesthetic potential.
physical model | concept model
physical model | cutting patterns
physical model | plan view
physical model | front elevation
physical model | side elevation
physical model | rear elevation
physical model | side elevation
physical model | detail view 01
physical model | detail view 02
first design proposal|BURNING
MAN 12
first iteration of proposal | visuals These visualisations communicate how my proposal would operate both during the day and at night. When occupied, the structure offers two different opportunities for seating; the ‘cave’ and the ‘hammock’. People can take shelter in the shade provided by the cave or, alternatively, bask in the sun on the hammock. Whilst this duality offers a counterpoint between earth and sky, the pavilion remains one structure, one visual entity. It stands somewhere between the realms of both sculpture and architecture - a spatial construct where movement through, and around, it is transformational and social gathering is encouraged, resulting in intimate social interaction. At night, the structure would be illuminated through the use of electroluminescent wire attached to the tension cables. Whilst adding a further design dimension to the pavilion when night falls, the el wire also serves to highlight and make visible the tension cables which would otherwise prove hazardous if they could not be seen.
visualisation | day time occupation
visualisation | night time illumination
first design proposal|BURNING
MAN 13
final proposal | providing shelter from the elements The orientation of my proposal is critical in ensuring its inherent form provides the degree of protection from the elements intended. Whilst the wind rose illustrates the wind direction is varied, the strongest and most frequent winds arrive from the SWW/W direction. When oriented in this manor, the hammock structure provides additional shelter at low levels for the area in and around the cave.
wind rose | august 26th-september 2nd
The cave also receives a degree of shading throughout the day, as illustrated by the shadow tracking diagram, providing the most shelter at the sun’s peak intensity, midday.
vasari wind analysis | 1st september 2013
vasari wind anaylsis | 1st september 2013
the cave | shadow tracking 9am-6pm right-left
the cave | lighting effects
providing shelter|BURNING
MAN 14
physical model | scale 1:2 In order to test the bending and structural capabilities of the plywood and establish an effective construction sequence, it was imperative that I made a large scale physical model. Building the “cave� portion of my design at a scale of 1:2 would allow me the opportunity to establish its functionality and structural stability at a scale comparable to its true 1:1 scale.
physical model | grasshopper generated perforations The perforation pattern has been designed in a wave formation to complement the shipwreck narrative of the design. I felt it important that the pattern still maintained a degree of regimentedness and regularity to make more visible the pattern in the shadow cast during the day and lighting effects when illuminated at night.
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The model also allowed me the opportunity to implement and test an additional design feature of a series of perforations cut into the ply strips. The pattern itself was initially generated using a curve attractor pattern definition in grasshopper and then manipulated to increase spacing.
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physical model | cutting pattern for ply strips
Construction:
Step 3: The ply strips were cut to shape and the perforation holes drilled. Step 4: The ply strips were soaked in hot water over night. Prior to fixing, each was then wrapped in a bath towel and boiling water was poured over to prevent splintering when bent. Step 5: Each ply strip was then formed over the support structure and fixed with wood screws.
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physical model | cave element built at 1:2
physical model | cutting pattern base
physical model | cutting pattern for rib supports
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Step 2: The ribs were fixed into notches in the base curve using adhesive and wood screws.
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Step 1: The supports were marked out and cut to shape.
physical model | drilling the perforations
physical model | sanding the ply sheet
physical model | fixing the ply strip
physical model | construction sequence
1:2 physical model|BURNING
MAN 15
physical model | analysis Whilst building the model, it became clear that the form work was insufficient and did not provide enough stability for the structure. This resulted in the overall form becoming progressively mis-shapen as each new ply strip was added. Additionally, the ribs were not thick enough and thus did not provide sufficient surface area for the ply strips to be secured to. On reflection it has become apparent that the form work itself is also an integral part of the structure and will require more in depth consideration. A further longitudinal member is required over the top of the “cave� form in order to restrain each of the ribs and prevent them from moving under the strain of the ply strips. Each form work member also requires additional thickness in order to accommodate a more secure fixing for each ply strip.
physical model | perspective view 01
physical model | perspective view 02
physical model | perspective view 03
physical model | detail view 02
physical model | detail view 02
1:2 physical model|BURNING
MAN 16
physical model | lighting effects This page demonstrates the lighting effects and shadow patterns that the perforations have the potential to create. They have the potential to generate interest both during the day; the movement of the sun traced by the shadows cast, and at night; with strategically placed lighting. In addition to the patterns cast on the ground, the perforations also serve to add interest to, and break up, the solid ply surface; with the bright sunlight (or artificial light at night) providing a stark tonal contrast at each perforation.
physical model | perspective view 01
physical model | perspective view 02
physical model | perspective view 03
physical model | perspective view 04
physical model | perspective view 05
1:2 physical model|BURNING
MAN 17
second iteration of proposal | technical drawings
technical drawings|BURNING
MAN 18
second iteration of proposal | visualisations
visualisation | ‘shipwreck’
visualisation | occupation
Lighting Effects: I propose two different, independent lighting systems, both using battery powered LEDs. The first echoes the shipwreck narrative of the proposal, using two ships lanterns, illuminated using yellow hue LEDs. The lanterns would be easily detachable during strong winds. The second system would use an array of multicoloured LED uplighters, illuminating the cave with an underwater wash of blue/green light and the hammock a glow inspired by the colours of a sunset.
visualisation | ships lantern
visualisation | multicoloured LED array
visualisations|BURNING
MAN 19
final proposal | technical drawings
technical drawing | north elevation 1:50
technical drawing | east elevation 1:50
technical drawing | west elevation 1:50
technical drawing | south elevation 1:50
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technical drawing | plan 1:50
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technical drawings|BURNING
10m 10m
MAN 20
technical drawing | isometric series 1:100
final proposal | visualisations My final proposal has reintroduced the tension cables from my original scheme. They serve to provide structural support and take some of the load exerted on the hammock structure, anchored by thick steel rebar stakes driven into the ground at an oblique angle. The cables offered a further design opportunity to incorporate a sail, referencing the shipwreck concept. The fabric sail would provide shade and a degree of protection from the prevailing winds to those occupying the hammock structure.
visualisation | sail
visualisation | ships lantern
visualisations|BURNING
MAN 21
final proposal | prefabrication construction The pavilion would be manufactured off site. 1. The plywood strips would be laser cut from 2440x1220x1.2mm ply sheets. 2. The rib elements would be cut using a 3D cnc milling machine. 3. The curved longitudinal frame members would be constructed using the process of bent wood lamination and set in vacuum press. The notches would then be cut out.
prefabrication | longitudinal elements
4. The frame would be assembled using temporary fixings to provide a form work to bend the ply strips over. 5. The pre-cut plywood strips would be heated in a steam box and then bent and fixed to the framework, held in place using additional clamps and metal backing straps. 6. The metal strap would be removed after an hour of drying to prevent discolouration. The structure would be covered with fabric blankets and left for 12 hours to allow the surface moisture to be evaporated slowly. 7. With the blankets removed, air would be blown across the structure using fans, one hour on, one hour off, slowly drawing out the moisture from inside the timber. This process would be repeated for two days. 8. Once dry, the entire structure would be disassembled and stored ready for transportation to site. 9. The sail would be manufactured by a specialist textiles company.
prefabrication | rib elements
prefabrication | plywood strips
prefabrication|BURNING
MAN 22
final proposal | construction sequence on site All components are transported to site. 1. The ground is marked out and ground anchors manually screwed into the ground. 2. The longitudinal base frame member and the centre keelson are secured to the ground anchors with lag bolts. 3. Adhesive is applied to the rib elements which are then fitted into the notches of the base frame and keelson and secured further with timber lock screws.
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4. Further Adhesive is applied to the rib elements and the last longitudinal members are then fitted and screwed to secure. 5-10. The pre-formed ply strips are then fitted, beginning from the “cave” end of the formwork, screwed to each rib member over which it sits. The first and last ply strips are secured with additional M16 Hex Bolts of varying lengths. 11. The Lanterns are fitted and LED spotlights are pushed into pre recessed holes. 12. The tension cables are fixed to the top of the ‘hammock’ structure and then tied to the ground with rebars. The sail is then attached to the tension cables.
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construction|BURNING 11
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MAN 23