Trevor Jordan: Digital Craft: Refabricating Digital to Analog Design Methodologies

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Digital Craft

Refabricating Digital to Analog Design Methodologies A Thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of : Master of Architecture, in the School of Architecture of the College of Design, Architecture, Art and Planning May 2012

by Trevor Jordan | Bachelor of Arts, Architecture Clemson University 2007 Committee Chairs: Michael Mcinturf | Aarati Kanekar | Ming Tang | Eric Inglert

ABSTRACT

With the emergence of digital technologies

the hand that works physical material. It must

and parametric design, a growing obsession

also encompass the mind that can command

in digital formalism is more evident in the new

the operations of technology, which can be

generation of architects. Digital technology is

understood as intellectual ‘material’.”

being harvested as a tool to create new formal

becomes necessary to define and explore the

complexities but has little ground in the built

nature of craft as both digital and analog. This

environment. In his essay “Intention, Craft, and

thesis will explore the convergence of digital

Rationality,” Kenneth Frampton addresses the

and analog craft and its impact on the process

issue saying, “While they [parametric forms] are

of form-finding. I propose a series of studies

brilliantly contrived and graphically seductive,

that will investigate digital and analog craft and

they are invariably unspecific to the substance

its processes. The joint, material, and method

of the project.”

Renzo Piano adds that “An

of application will be examined while utilizing

architect must be a craftsman… someone who

various tools such as digital software, CNC

does not separate the work of the mind from the

machinery, conventional casting techniques,

work of the hand,” which iterates that even with

etcetera. Precedent research will be conducted

new complex technologies, we are still builders,

to compare and understand relations between

or fabricators, by nature. Craft is associated

digital technologies and analog methods to

with materials and tools and is traditionally

gauge their impact. These findings will help

understood as making with physical materials.

demonstrate the convergence of digital and

Scott Marble argues this by saying “No longer

analog

can the word craft be identified solely with

concept of craft as a driver for architectural form.

ii

methodologies

influenced

It then

by

the

iii

CONTENTS

iv

INTRODUCTION DISCONNECT IN PRODUCTION FRAMING CRAFT

01| 02|

08 12

DIGITAL CRAFT: FABRICATION-BASED DESIGN SIMULATION: THE DIGITAL ASSISTANT MATERIAL POTENTIALITY: A MATERIALS-FIRST APPROACH COMPOSITE MATERIALS IMPRESSIONS OF THE TOOL

03| 04| 05| 06|

21 27

34 38

AIMS AND METHODOLOGIES SITE RESEARCH BUILDING TYPOLOGY: PRECEDENTS PROGRAM ANALYSIS DESIGN PROCESS AND OUTCOMES

07| 08| 09| 10|

50 65 75 75

BIBLIOGRAPHY

v

LIST OF ILLUSTRATIONS

vi

Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Figure 17 Figure 18 Figure 19 Figure 20 Figure 21 -

Figure 22 Figure 23 -

Fluting patterns. From Pye, David. “The Nature and Art of Workmanship” (2nd ed. München: Herbert, 1995), p. 8.

Diagram of mass production. Kieran, Stephen, and James Timberlake. “Refabricating Architecture” (New York: McGraw-Hill, 2004.

By author.

By author.

By author.

Cringe of a sail. Pye, 46.

Tempered steel. Various colors indicate temperature and hardness. http://en.wikipedia.org/wiki/ File:Tempering_colors_in_steel.jpg Altered formal elements. From Reiser, Jesse, and Nanako Umemoto. Atlas of Novel Tectonics.(New York: Princeton Architectural, 2006).

By author.

By author.

Varying degree splines where curvature and inflection are determined by positions of points and weights along the motion flow of the spline. From Lynn, Greg. “Animate Form” (New York: Princeton Architectural, 1999), 24-2.

By author.

Wool thread optimized path system. From Otto, Frei, Sabine Schanz, and Bodo Rasch. Frei Otto, Bodo Rasch.

“Finding Form : Toward an Architecture of the Minimal” (Stuttgart: Edition Axel Menges, 1995), 69.

By author.

By author.

By author.

Minimal surface experiments. Otto, 122.

Frank Ghery's Star Hotel. "Cosas de JA: Hotel Marqués de Riscal." Cosas de JA. http://www.cosasdeja. com/2010/12/hotel-marques-de-riscal.html (accessed May 6, 2012).

Antoni Gaudi's "hanging chain" model. Otto, 122 Microscopic view of bone. Otto, F., Herzog, T., and Schneider, M., Der umgekehrte weg : Frei Otto zum 65. geburtstag, R. Muller, Kln, 1990.

Close-up image of spongy bone from the human femur. Photo credit: Klaus Bach, IL-archive. Nosebone of a saddle storck preparation: Paul Bhler, University of Hohenheim. Source: Otto F et al. (1995). IL 35.

Information of the Institute of Lightweight Structures (IL), Pneu and Bone. University of Stuttgart, Stuttgart, p. 243 Carpal Skin. Oxman, Neri . "Carpal Skin." Neri Oxman. web.media.mit.edu/~neri/site/index.html (accessed February 24, 2012).

Stalasso. Oxman, Neri . "Stalasso." Neri Oxman. web.media.mit.edu/~neri/site/index.html (accessed February 24, 2012). vii

Figure 24 Figure 25 Figure 26 Figure 27 Figure 28 Figure 29 Figure 30 Figure 31 Figure 32 Figure 33 Figure 34 Figure 35 Figure 36 Figure 37 Figure 38 Figure 39 Figure 40 Figure 41 Figure 42 Figure 43 Figure 44 Figure 45 Figure 46 Figure 47 Figure 48 Figure 49 viii

Method of stress distribution in sail construction. Reproduced from Conrad, Peter G. "Method of Stress Distribution in a Sail and Sail Construction." SobStad Sailmakers, Inc., assignee. Patent 4593639. 10 June 1986 Schmidt, David. "The Future of Grand Prix Racing Sails | Sail Magazine." Sail Magazine. http://www. sailmagazine.com/inshore-racing/future-grand-prix-racing-sails (accessed May 6, 2012) Fiber paths are laid according to load paths. Elliott / Pattison Sailmakers Custom Sails. http://www.epsails. com/Sailmaking_2010.htm (accessed May 6, 2012).

Detail of overlapping fibers. "Carbon Nanotube." whatwow . http://whatwow.org/carbon-nanotube/ (accessed May 6, 2012) By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

Downtown Atlanta. "What Now Atlanta." http://whatnowatlanta.com/2011/07/18/community-meetinglaunches-i-7585-downtown-connector-beautification-project/ (accessed May 18, 2012).

By author.

By author.

By author.

By author.

By author.

By author.

Evolution of typology. "Skyscraper - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Skyscraper (accessed May 18, 2012).

Form as an animated assembly. Bratton, B. (n.d.). IAAC / Digital Technologies in Architecture / 2007: Recombinant Architecture. IAAC / Digital Technologies in Architecture / 2007. Retrieved May 18, 2012, from http:// iaac-digitalarchitecture.blogspot.com/2007/12/recombinant-architecture.html Goat Farm Arts Center. Mullins, Andrew. "The Goat Farm- Atlanta." Andrew Mullins. http://www.andrewwmullins.com/the-goat-farm-atlanta/ (accessed May 5, 2012) Goat Farm Arts Center. Mullins, Andrew By author.

Figure 50 Figure 51 Figure 52 Figure 53 Figure 54 Figure 56 Figure 57 Figure 58 Figure 59 Figure 60 Figure 61 Figure 62 -

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

By author.

ix

Figure 1 (right): Fluting patterns. From Pye, David. “The Nature and Art of Workmanship” (2nd ed. München: Herbert, 1995), p. 8

INTRODUCTION

1

01

DISCONNECT IN PRODUCTION

A clear distinction is now evident in most architectural practice today between processes of design generation and processes of design production. A separation was created in the conception of material knowledge, structure, and form due to this distinct divide, which was propelled by standardization and the division of labor. Modernist design theory contributed to standardization of building practices because of strict geometric prioritization and regulation.

The focus was more on the number of products that could be distributed to consumers, which led manufacturers to operate in mass quantities so that their products could be competitive on the market. Henry Ford’s model

Figure 2: Models of mass production in automotive industry on the left are still synonymous with current practices in the building industry today. From Kieran, Stephen, and James Timberlake. “Refabricating Architecture” (New York: McGraw-Hill, 2004.)

2

ARCHITECT

PRODUCT ENGINEER

MATERIALS SCIENTISTF

TFABRICATOR

MASTER BUILDER [ CRAFT ]

Figure 3: Diagram of information exchange among disciplines. Craft unifies areas of each discipline under the control of the “master builder.” Illustration by author.

3

of the “assembly line” became a catalyst for a

work?”3

new paradigm in production, replacing skilled

artifact? Such questions carry implications of

craftsmen with workers doing repetitive tasks

methodology and application in design and

to improve efficiency as measured by output,

their connection between the artifact and

termed the division of labor.1

The same

How is the process evident in the

its context.

Inherent within each of these

model is still evident in the building industry

questions is idea of craftsmanship, or more

today with architects, engineers, contractors,

appropriately “craft.” It speaks to the way that

subcontractors, consultants, etc… all working in

we build and processes involved in production.

a hierarchical structure. The early part of the digital revolution marked a shift from analog

The use of craft as a process can best

to digital technology making the translation of

be described by the terms techné and fabricate.

information more streamlined and automated

The term techné (Greek for craft) is defined as

for designers.

The effects however further

the rational method involved in the producing

broadened the gap between form and matter

of an object. Fabricate defines a more holistic

and made the hierarchical and sequential

sense of craft and process. The etymology of

separation of modeling, analysis and fabrication

fabricate helps to better explain its significance

processes

- “fabric” and “ate.” The term fabric is defined

infinitely

more

pronounced.2

in the following ways: 1. underlying structure; The emergence of sophisticated new

framework. 2. an act of construction; erection.

digital fabrication tools and technologies affords

3. the arrangement of physical components in

new ways of design generation and production

relation to each other. The suffix “-ate” in this

resulting in novel customized solutions. This

instance describes its use as “the product of a

shift in production now addresses the method

process.” Its origin suggests a deeply connected

of making and its impact on architecture posing

relationship to craft (the process) and the

the question “What is the relation between the

maker and maintains that position today.

way in which things are made and how they 1 Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008. p. 209 2 Oxman, Neri. “Material-based Design Computation.” Diss. MIT, 2010. p. 28

4

3 Oxman, Neri. “Digital Craft: Fabrication-based Design in the Age of Digital Production.” MIT, 2008. p. 5

Figure 4: Diagram illustrating cyclical process of digital and analog craft; combining imagination and technique. Illustration by author.

5

02 Ideas of craft have evolved from initial doctrines instituted by John Ruskin in 1850 who believed that there is happiness and pleasure in man’s labor and is evident through his craftsmanship.

Ruskin’s ideology embodies a morality with handcraft and challenged and highly regulated workmanship the use of machines as an aid in the crafting process saying, “Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions.”

But Ruskin was not a craftsman.

He was

responding to the spirit of one who perceives the expression of labor in man’s work. He was responding to the pleasure in man’s work.

Figure 5: Risk of failure must be present through the process of making.

Illustration by author.

Figure 6 (right page): Cringe of a sail. Pye, 46.

6

FRAMING CRAFT

7

In his book The Nature and Art of

Workmanship,

David

Pye

399ºF

advocates

for the survival of craft with his theory of workmanship predicated on the distinction between the “workmanship of certainty” and the “workmanship of risk”.4

He suggests that

classifying between man and machine-work is meaningless. The measure is in the level of risk. The “workmanship of risk” maintains constant risk in the process of making whereas the “workmanship of certainty” is an automated process where the result is predetermined before

a

single

salable

thing

is

made.

DIVERSITY There is a truth to material; a quality that we seek to bring out. We see design in terms of its formal elements - its visible characteristics, distinguishing marks, and qualities. Through workmanship and knowledge of substance the designer in a threshold of material emergence.

4 Pye, p. 20

639ºF

Figure 7: Tempered steel. Various colors indicate temperature and hardness. From http://en.wikipedia.org/wiki/File:Tempering_colors_in_steel.jpg 8

As the author of material emergence we seek to distill certain qualities of its making. Much like a blacksmith is cognisant of an alloys color in the tempering process in order to determine its desired hardness (see figure 6), architects as material scientists must be able to measure and gauge material qualities and techniques to determine in what way emergence takes place in the process of its becoming. Outward symptoms, or signifiers, latent in processes of material emergence become a guide for material unfoldings.

Certain tools allow the control

of these unfoldings as a means of regulation.

The effectiveness and beauty is often missed if repetition or consistency in qualities becomes too regulated. Diversifying such qualities by allowing incidental and irregular manifestations to occur presents fresh and unexpected moments in a form. It is a tangible signifier of the relationship between author and artifact.

Figure 8: Organization and perception of formal elements are altered, creating diversity.

From Reiser, Jesse, and Nanako Umemoto. Atlas of Novel Tectonics.(New York: Princeton Architectural, 2006).

9

INTUITION

SIM UL AT ED CR AF

AT SIMUL IONS

DA

TM

OV

EM

TE

CH

LTIP LE F

ORC E

NIQ

S IN

UE

T EX

ENT

OF M U

NT CO

RICA TION

IVE CT TIME

ANISOTROPIC MATERIAL STRUCTURING

Y

EROGENEIT MATERIAL HET

IC

DM RO AN

MAC

ER RO MAT

ANIZAT

IAL ORG

ION

IAL

Y ERIT DEX T ENT DGM

ITY ERS DIV

E -JU C AR

EE

subjective

element involved in the crafting

EQ UIV O

GR

a

ISK FR

DE

element,

WO RK M A NS HIP O

There is a qualitative

CA LIT Y-

OF

INTUITION

MA TE R

FA ILU

RE

AS IGN IFIE R

S

ENTIALITY RIAL POT MATE

PUTER

AN

- IMB

process that separates a normal worker from an artisan using the same tools. This element is known as intuition. What is the role of intuition in craft, or our imagination?

In his book The Craftsman, Richard Sennett suggests that there is a link between the known and unknown resulting in the “sublime,” which he calls “The Intuitive Leap”.5

“The Intuitive

Leap” refers to a stumbling on the unexpected 5 Sennett, p. 209 10

TY

F COM

E OP EL

TRA C

UNCERTAIN

OR O BEHAVI

NV

GY

ABS

INTELLECTUAL MATERIAL

NEAR

LO

E EN

VS

E TW BE

HN O

ON OPERATING

NON-LI

N TIO RA BO

VIR TUA L ECT ION

LLA

TE C

INFL

CO

T

Figure 9: Diagram showing key ideas contributing to discourse of digital craft. Illustration by author.

“The truth is that what we want to do is, not to express the properties of materials, but to express their qualities. The qualities are subjective: they are in our heads. They are ideas of ours.” - David Pye FABRICATION-BASED DESIGN OPEN-ENDED METHODOLOGY

DIGITAL CRAFT

MATERIAL [informed] ORGANIZATIONS

ARTIFACT

EVIDENCE OF PROCESS DIVERSITY

or the unforeseen.

It is where imagination

principles and computational tools guide and

He posits that for a craftsman,

organize “intellectual material” that can be

specific practice prepares the ground on which

manufactured through computer numerically

people might stumble - “Intuition begins with

controlled

the sense that what isn’t yet could be." It is

prototyping. The craftsman serves as a filter

a superior kind of pattern organization that

throughout the process, connecting non-linear

a maker is able to operationalize. In general,

elements and behavior of various systems

craftsmanship may be interpreted as a

to allow unique manifestations to take place.

happens.

(CNC)

machines

and

rapid

guiding instruction set combining knowledge “Digital Craft” reintegrates modeling,

and application with material and tools.

With a conventional understanding of the

analysis,

role of craft and making in architecture,

constructs on the front-end of the design, giving

craft can now be framed in the digital age

the architect more control and understanding

by combining processes of imagination with

of the building throughout the entire building

processes of technique.

process.

Generative design

and

fabrication

of

architectural

The terms digital craft and analog

11

craft imply a cyclical process where one feeds off the other. They suggest that certain skills acquired

through

fabrication

and

digital

design can contribute to fabrication-based design methodologies.

Elements of digital

craft and analog craft are further explored in the following chapters to understand their significance

in

fabrication-based

design.

Figure 10 (right): Illustration by author.

12

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DIGITAL CRAFT: FABRICATION-BASED DESIGN

03 Digital

software

has

been

SIMULATION: THE DIGITAL ASSISTANT

used

traditionally as an advanced drafting board, and until recently has yet to fully take advantage of its capabilities as a design tool.

This paper

poses the idea that our current building practices are limited to rigid materials due to standardized practices in manufacturing which has influenced the way buildings are designed - constrained to orthogonal planes and lines.

We are able utilize new organizational, material, and structural systems that have the added benefit of optimizing building performance.

Figure 11: Varying degree splines where curvature and inflection are determined by positions of points and weights along the motion flow of the spline. From Lynn, Greg. “Animate Form� (New York: Princeton Architectural, 1999), 24-25

Greg Lynn is the first theorist to critically analyze the computer as a design tool REPULSION

ATTRACTION

Figure 12: Hierarchy of form generation. Illustration by author.

15

and prescribe a set of guiding principles. Time,

and crude results, lacking a certain finesse

Topology, and Parameters are fundamental

that is latent in the material properties. By

principles that govern form morphology in

using simulation as a technique, we are able

the digital environment. He exclaims that the

to evaluate the performance and behavior

computer is an unintelligent mechanism that

of material and structural systems in real

simply connects multiple variables with no

time. In the words of Pye, technology is the

intuitive reasoning. Its capabilities are limited

scientific study and extension of technique.7

only by our imagination. The computer is not

As such, the information manipulated in

a brain (Lynn), meaning our ability to evaluate

the virtual environment in the form of

non-linear

points, lines, and vectors may be considered

6

behavior,

pattern

recognition,

and reasoning capabilities are far superior.

“intellectual material.”

The term “form follows software” has been

acting as a tool that is implemented at certain

recently coined to describe forms generated

stages, it is regarded as an assistant in the

using complex digital tools, insinuating our

context of digital craft. The digital or virtual

lack of control over form morphology and

environment contributes to a reactionary

the relative ease in which it can be created

design methodology and should be regarded

in programs such as Maya.

as an active player in the design process.

One must

Instead of simulation

exercise control over digital design tools Simulation is the potential for a digital

and software using one’s intuitive reasoning.

construct to become actualized. It is a move away to

from abstract processes of making to a closer

describe real qualities and conditions that

relationship between the architect and artifact.

Simulation

is

a

term

used

can be abstracted and modeled in the digital environment based on mathematical principles,

The diagram presented to the right

giving the designer an understanding of

is an image of Frei Otto’s popular wool thread

material behavior against certain forces. Often

test. In his experiment, he sets up a network of

times we find that modeling conditions like

wool threads that connect directly from points

Gaudi’s “hanging chain model” or modeling

A to B. He allows an 8% slack in the threads to

flexible materials in a system yields inaccurate

allow movement differential in the system. The

6 Lynn, Greg. Animate Form. New York: Princeton Architectural, 1999. p. 25 16

threads are then lowered into water causing 7 Pye, p. 51

them to draw towards one another and attach

Frei Otto’s experiment is understood as an

to themselves. This reaction occurs because

optimized path system, meaning that paths

of the natural starches in the wool strings and

will bundle and merge depending on its

the extra slack in the system. An emergent

proximity and attraction to its neighbors.

grouping and behavior occurs as a result of

represents the synthesis of structural capacity

material behavior reacting to a predefined

and material organization in analog form.

organization while being influenced by physical

Power

forces.

laws

of

attraction

and

It

unary

If we are able to understand and

(gravitational) forces are examples of forces

harness the simulation of such forces, we can

that can be applied to a digital environment

move towards more innovative formal solutions

to optimize load paths in a structural system.

that contain the memory of said forces. The

The aim of this thesis is to control the

digital capabilities of this process increase the

behavior of the digital environment and use it as

generative nature of design tremendously

an aid in the way it helps to shape form, not just

while allowing us to simultaneously test other

as a tool, but as an assistant. The benefit of being

unique

able to control such behavior is to potentially

scenarios

in

different

conditions.

Figure 13: Wool thread optimized path system. From Otto, Frei, Sabine Schanz, and Bodo Rasch. Frei Otto, Bodo Rasch. “Finding Form : Toward an Architecture of the Minimal� (Stuttgart: Edition Axel Menges, 1995), 69.

17

18

Relaxed geometry

Simulated forces

Constraints

Initial geometry

Figure 14: Relaxed mesh diagram showing topological changes based on constraints. Illustration by author.

minimize surface area of topologies and optimize material and structural performance.

Mesh relaxation is a technique shown below that follows the material logic of fabric structures. Surface tension is introduced on a surface or geometry causing it to “shrink” wherever it is not constrained. Curves that comprise a mesh attempt to reach a zerolength position, resulting in a minimal surface condition. The designer chooses the initial constraints of this technique involving the selection of anchor points where the initial geometry remains stationary, mesh curves where tension is to be introduced, and “ridge cables” where more stiffness can be Figure 15 (left): Grasshopper script using Kangaroo physics engine showing organization of data. Illustration by author.

introduced where desired. This technique is one example utilized in the digital craft process.

Figure 16 (bottom) Relaxed mesh diagram in plan showing topological changes based on constraints. Illustration by author.

19

20

04 Material

potentiality

is

used

MATERIAL POTENTIALITY: A MATERIALS-FIRST APPROACH

to

describe the relationship between matter and form. There exists a disconnect between the

generative

model

and

its

physical

manifestation which must account for a certain material logic.

How is material a factor in

the design process? How can its qualities be attributed and quantified in a way to inform both the design and production processes?

These questions are inherent in craft itself suggesting a materials-first design approach.

Some

architects

consider

the

inclusion of material as an application to form, acting as a “wrapper� in a sense. Examples of

Figure 17 (left) Minimal surface experiments. Otto, 122.

21

this design practice are evident in Frank Ghery’s work where form is conceived by folding and tearing pieces of paper to represent form and space and later assigning a cladding system.

Systems are often post-rationalized in terms of material such as building openings and apertures resulting in awkward and unresolved details and connections.

This is referred to

as a top-down approach, which follows a form-structure-material sequence that has dominated the profession for centuries. This design approach can become highly abstracted and remains subjective based on the designers preferences.

It also puts the design in a

position where performative analysis takes place after the design process, leaving much of the considerations to the structural engineer or fabricator. Craft, on the other hand, inherently takes into consideration material knowledge and construction processes. How can evaluation processes and material behavior inform the design process?

New fields of research in

areas of form-finding, pioneered by Frei Otto at the Institute for Lightweight Structures, are re-emerging that examine naturally occurring processes and material behavior to extract new formation processes in the pre-digital era. Processes in biology, specifically in cellular formations and morphologies have become relevant to architectural research in areas of optimization of structural systems and new 22

Figure 18 (above): Frank Ghery's Star Hotel. "Cosas de JA: Hotel MarquĂŠs de Riscal." Cosas de JA. http:// www.cosasdeja.com/2010/12/hotel-marques-deriscal.html (accessed May 6, 2012).

Figure 19 (right) : Antoni Gaudi's "hanging chain" model finds equilibrium between material, force, and structure. Otto, 122

synthetic material systems. Biomimicry is one example where natural structures and materials are mimicked for their sustainable qualities.

To explore the relationships that lay between material composition, structure, and form, Neri Oxman presents a method of digital craft known as Material-based Design Computation.8 This design approach positions itself among fields of material science, biology, and engineering.

Concepts of Nature’s way

are presented to offer examples of sustainable approaches to design that have existed for millions of years.

Nature is a master

craftsman , organizing material and structure to fit very specific functions. Diversity in form is embedded through evolutionary processes.

In her paper, “Structuring Materiality: Design

Fabrication

Materials,” concepts

Oxman derived

Nature’s Way:

of

Heterogeneous

presents from

her

two

major

analysis

of

Material Heterogeneity and

Material Anisotropy9, directional dependence, illuminating materials.

the

structuring

of

natural

Nature uses these principles to

negotiate a multitude of complex forces and 8 Oxman, Neri. “Material-based Design Computation.” Diss. MIT, 2010. p. 100 9 Oxman, Neri. "Structuring Materiality: Design Fabrication of Heterogeneous Materials." MIT, 2010. p.80 23

24

reactions such as load distribution, food absorption,

heat

transmission,

moisture

control, etc... The human bone for example has the ability to alter its composition based on altering mechanical loads, demonstrating nature’s ability to locally optimize its shape and composition based on external requirements, densifying where it is needed and hollowing where it is not. Wood is another example that exhibits anisotropic behavior whose structural properties vary widely when measured in different orientations, allowing it to effectively resist tremendous loads and distribute water simultaneously.

Nature teaches us systems

have the ability to integrate multiple functions, not as discrete elements, but heterogeneously.

"Nature's Way" presents a materialsfirst approach teaching us unique ways in which function and form coexist and the ways the shaping process occurs. Materialsfirst approach to design seeks to learn from material properties, behavior, organization, etcetera. Digital Craft offers us a way to

Figure 20 (above): Microscopic view of bone (above). Diagram of stress lines acting within the bone structure determines how material is allocated. From Otto, F., Herzog, T., and Schneider, M., Der umgekehrte weg : Frei Otto zum 65. geburtstag, R. M6ller, Kln, 1990.

Figure 21 (left): Close-up image of spongy bone from the human femur. Photo credit: Klaus Bach, IL-archive. Nosebone of a saddle storck preparation: Paul Bhler, University of Hohenheim. Source: Otto F et al. (1995). IL 35. Information of the Institute of Lightweight Structures (IL), Pneu and Bone. University of Stuttgart, Stuttgart, p. 243 25

Figure 22: Carpal Skin is a process by which to map the pain-profile of a particular patient and to distribute hard and soft materials to fit the patient’s anatomical and physiological requirements. Oxman, Neri . "Carpal Skin." Neri Oxman. web.media.mit.edu/~Neri/site/index.html (accessed February 24, 2012).

26

operationalize such behavior and performance using computational tools and fitting those with unique fabrication techniques. By doing so we can move towards understanding new protocols in execution of knowledge and production of material systems which can help shift future manufacturing processes in the building industry. By considering the physical composition of the building as artifact in the process of digital craft we begin to move away from a semiotic relationship with architecture (what it means) and towards an operative relationship, asking “What is the relationship between how it is made and how it operates?�

How can material properties and behaviors be operationalized to fit into the context of digital design and craft? How can we benefit from directionally dependent properties in materials and structure in an architectural context, not just in the form of an object? We can first learn from other industries who have made advances in technology and construction beyond the building industry; namely the ship-building

and

sail-making

industries.

Figure 23: Stalasso mimics mineralization processes for design purposes.

This enables construction based on performance requirements.

Oxman, Neri . "Stalasso." Neri Oxman. web.media.mit.edu/~Neri/ site/index.html (accessed February 24, 2012)

27

05 With

material

and unique patterns all responding to different

technologies,

functions. The result is an almost sheet-metal

we have been able to realize new types of

like cloth with minimal stretch in each direction.10

knowledge

advancements and

emerging

in

COMPOSITE MATERIALS

materials with characteristics and benefits Composite

that far exceed most that are commonly used in practice today.

Composite materials are

material

construction

contributes to the practice of digital craft by

in

allowing the designer to organize material and

compositional heterogeneity and anisotropy.

structural behavior according to contextual

Discrete materials with particular strengths can

and user-defined constraints. Every natural-

be combined to fit a specific purpose through

made material at either the macro or micro

the combination of discrete elements into a

level is composed of fibers - as seen in

unified element. Laminate sail construction is

human bones, trees, and even egg shells.

a technique of building a composite material

Laminate

system where layers of discrete materials are

solution of attaining material heterogeneity,

essentially glued, layered, and combined in a

lending

beginning to simulate nature's practices

sail to

constructions

unique

offers

customized

one

solutions.

vacuum bag. It is a sandwich technique that first starts with a film of Mylar. Glue is applied, after which high modulus fibers of varying lengths and types are laid in specific patterns followed by more adhesive and another layer of film. Fiber patterns are generated based on projected load paths calculated by the sail’s designer. Multiple layers of fibers follow specific 28

10 Schmidt, David. "The Future of Grand Prix Racing Sails | Sail Magazine." Sail Magazine. http://www.sailmagazine.com/inshoreracing/future-grand-prix-racing-sails (accessed May 6, 2012)

PANEL 6

PANEL 5

PANEL 4

PANEL 3

PANEL 2

PANEL 1

Figure 24: Method of stress distribution in sail construction. Reproduced from Conrad, Peter G. "Method of Stress Distribution in a Sail and Sail Construction." SobStad Sailmakers, Inc., assignee. Patent 4593639. 10 June 1986 29

30

Figure 25: Synthetic fibers are vacuum-bagged and heat laminated. Schmidt, "The Future of Grand Prix Racing Sails"

Figure 26: Fiber paths are laid according to load paths. Elliott / Pattison Sailmakers Custom Sails. http://www.epsails.com/ Sailmaking_2010.htm (accessed May 6, 2012).

Figure 27: Detail of overlapping fibers. "Carbon Nanotube." whatwow . http://whatwow.org/carbon-nanotube/ (accessed May 6, 2012) 31

06 The projects presented in this section are studies conducted in relation to digitallyassisted production methods.

The practice

of machining artifacts follows the idea of embedding

memory

of

fabrication

and

design processes into the built artifact. The first project shown is a study in the creation of

material

qualities,

organization,

and

performative criteria that learns from naturally occurring systems, called the "Coralight Wall".

In this case, brain coral became the focus of study. Brain coral contain a simplicity in their form, but has intricate and complex characteristics in their surface to meet various functional needs. Its grooves and hard shell

Figure 28 (right): Detail of Coralight Wall showing surface diversity. Original image.

32

Impressions of the Tool

33

shelter algae from which it absorbs food and provides resistance against heavy forces such as hurricanes. This project seeks mimic "collection" behaviors across its surface by densifying and scaling formal elements on its surface in collection groups that can potentially store water or house various types of plant life.

Machining effects help to induce the

matriculation of water, channeling it to desired areas.

Larger cells on the surface rotate

and orient themselves to collect sunlight.

The construction of the Coralight Wall is consisted of laminated baltic birch plywood.

Surface depth becomes apparent as each new layer of ply is exposed, developing emergent material processes

behavior

from

and

material

manufacturing composition.

Figure 29: Details of machining effects and diversity realized through digital craft protocols. Original image.

Figure 30 (right page): Overall composition of form. Original image.

34

35

The following process describes a generative process resulting in a constructed artifact.

Techniques in digital clustering and variation induced by attraction and repulsion forces are primary organizational principles. Lamination and

tooling

processes

produce

material

artifacts that range in behavior. Irregularities and diversity are built into the generative design process, anticipating unexpected qualities to emerge while still maintaining a level of control.

Figure 31: Diagram of generative design process controlled by surface manipulation and point distribution. Illustration by author.

36

roughing pattern

semi-finish pattern

rest-rough pattern

custom tool pattern

Figure 32: Diagram of procedural tooling processes that can be controlled through CNC technology. Illustration by author.

37

Fig 33: Different tooling depths allow varying amounts of light, exposing the inherent material properties 38

The following project is a "pink screen" partitioning system composed of standard rigid insulation. CNC machining processes are overlaid to create variation in depth and opacity to take advantage of the material's transmissive qualities. Daylight filters through the porous material according to the prescribed depths.

Material

"pocketing"

and

"furrowing" strategies create unique formal elements

in

the

artifact's

simultaneously

correspond

requirements.

Common

surface to

that

daylighting

materials

such

as this are "upgraded," removing standard labels

with

customized

machine

effects.

Figure 34 (top right): Standard labels are removed by tooling, "upgrading" the material.

Figure 35 (bottom right): Overall panel composition.

39

DESIGN GENERATION

EMERGENT BEHAVIOR SIMULATION forces

MATERIAL SELECTION

ATTRACTION

TENSILE MEMBRANES

REPULSION

THICKNESS

STIFFNESS UNARY FORCES

MESH CURVES

GEOMETRY

HIGHWAY CURVATURE ANCHOR POINTS GROUNDING CONDITIONS OPENINGS DESIRED PROGRAM

constraints

40

DESIGN PRODUCTION

ASSEMBLY LOGIC LAMINATION LAYERED COMPOSITE

EMERGENT BEHAVIOR

FABRIC FORMING WEAVING CABLE NET STRUCTURES SEWING LOAD DISTRIBUTION PATHS CURVATURE ANALYSIS

FABRICATION

PLANARITY

STRUCTURAL EVALUATION

Figure 36: Diagram of design generation and production processes as a non-linear system. Digital Craft combines elements through the design pipeline causing emergent behavior at different points along the way. Illustration by author.

41

AIMS and METHODOLOGIES

07

SITE RESEARCH

The aim of this design proposal is to bridge relations of scale and structure to accommodate different interactions between people, vehicles, and the neighboring buildings.

An urban

groundscraper will serve as a prototype for

mega-

infrastructural

architecture.

This project proposes a mega-typology that utilizes the overlooked interstate infrastructure as

a

way

of

bridging

connections

and

establishing a new built environment that has the potential to mitigate environmental problems such as noise and air pollution in it vicinity while engaging pedestrians and vehicles in new and unique ways.

Urban

Figure 37: Development patterns of Atlanta from 1970 to 2000. Illustration by author.

43

Figure 38: Downtown Atlanta. "What Now Atlanta." http:// whatnowatlanta.com/2011/07/18/community-meeting-launches-i-7585downtown-connector-beautification-project/ (accessed May 18, 2012).

44

“Atlanta is not a city, it is a landscape” - Rem Koolhaas

45

N

S

SITE ATLANTA, GA INTERSECTION OF I-75/ I-85 46

View from 17th street looking North

View from 17th street bridge looking South Figure 39: Site map and view corridors. Illustrations by author.

47

on the city's growth and directly contributing to the increase in congestion.

A common

and temporary solution to this problem has been to expand highway infrastructure, which in turn prompts new development along its proximity.

This pattern has contributed to

Atlanta's outward growth, lengthy commute times,

and

various

forms

of

pollution.

In Rem Koolhaas' analysis of Atlanta, he states that "Atlanta is not a city, it is a landscape." It has many downtown areas which become disparate areas of activity. The landscape itself is shaped by its interstates, encircling the city core and dissecting it with its major interstates.

SITE APPROACH MOVING SOUTHBOUND I-85

sprawl has continued to have an adverse effect

1

2

The condition of an urban fissure sets the design framework for a new urban fabric The site that is to contain the desired building is on the fringe of downtown Atlanta at the intersection of I-75 and I-85 at a convoluted and interconnected assemblage of highway infrastructure which consumes on average 30 minutes a day of a driver’s time.

The

3

perplexities of the automobile culture and its weight on our environment and our dwelling patterns become a primary driver, shaping the emergence of the proposed building. The urban groundscraper typology accepts this condition and attempts to mend the urban fracture caused by interstates I-75 and I-85.

48

4

2

SITE APPROACH MOVING NORTHBOUND I-75

1

It is not the intention of this project to completely answer issues pertaining to urban sprawl and congestion in the urban environment, as they are vastly complex and broad in scope.

Instead, this project aims to narrow its focus on the ways in which we can begin to quantify problems, contextual relationships and forces presented in this chapter to begin to manifest new ways of organizing material, structure, and space through the mechanism of digital craft.

The conception of the groundscraper’s

form, program, and cultural relevance will be framed by this thesis to suggest a way of virtual and physical attributes contribute to digital craft as fabrication-based design methods.

3

4

Figure 40: Approach from North and South

49

National Highway System

50

Annual Carbon Emissions

The average daily driver in Atlanta spends on average

34 minutes in their vehicles

NASHVILLE

population annual congestion cost ($) travel delay annual excess fuel consumed (gal)

CHARLOTTE

population annual congestion cost ($) travel delay annual excess fuel consumed (gal)

COLUMBIA

population annual congestion cost ($) travel delay annual excess fuel consumed (gal)

ATLANTA

population annual congestion cost ($) travel delay annual excess fuel consumed (gal)

BIRMINGHAM

population annual congestion cost ($) travel delay: annual excess fuel consumed (gal)

1,129,000 556,000,000 26,475,000 6,971,000

1,052,000 378,000,000 17,730,000 5,228,000

486,000 181,000,000 8,515,000 2,723,000

4,304,000 2,489,000,000 115,958,000,000 53,021,000

859,000 326,000,000 15,832,000 5,639,000

Figure 41: Impacts of the automobile. Illustrations by author.

51

FIGURE/GROUND

Analysis of road networks combined with building elements makes primary datum lines more apparent.

52

A negative Figure/ Ground relationship helps to illustrate the city morphology. Organic growth where residential and commercial development coincide create a distinct crease in the city infrastructural fabric.

Figure 42: Figure/Ground Studies.

Illustrations by author.

53

54

ACTIVITY CENTERS

PARKS AND RECREATION

TRANSIT

COMMUNITY CENTERS Figure 43: Site Analysis of activity and contributing forces. Illustrations by author.

55

INDUSTRIAL INDUSTRIA COMMERCIAL COMMERCIA SINGLE FAMILY HOUSIN HOUSING RESIDENTIAL GENERAL PLANNED DEVELOPMEN DEVELOPMENT

Figure 44: Zoning diagram and circulation.

Illustrations by author.

56

Urban activity is disrupted by highway infrastructure. Small gestures to link East and West sides of the interstate have been made in the form of pedestrian bridges, but are too small to have much of an impact at the current scale .

By investigating the intersection of I-75/ I-85 as a prototype for infrastructural architecture, a connection between the

SN S N

industrial and commercial districts can be made.

Opposing fabrics merge, introducing a new landscape that exposes and connects disparate movement systems. Performance spaces, hospitality, and retail fold in accordingly to help supplement and encourage urban activity.

57

08

BUILDING TYPOLOGY: PRECEDENTS

The skyscraper as a building model was first implemented in Chicago then in New York to respond to increasing urban density and property values. The design of this thesis will attempt to mitigate issues of road congestion, urban sprawl, and other negative impacts associated with those conditions by expanding the meaning of the skyscraper and its evolving role in society in the digital age. Skyscrapers are typically classified as having a skeletal structure from which walls are suspended and being of a certain height which changes the overall skyline.

Technological advancements in iron and steel construction in the late 1800’s permitted buildings to reach new heights never before

Figure 45: Evolution of typology. "Skyscraper - Wikipedia, the free encyclopedia."

Wikipedia, the free encyclopedia. http:// en.wikipedia.org/wiki/Skyscraper (accessed May 18, 2012).

58

59

conceived due to the material’s self-sufficiency.

of porosity in tunnel walls will allow connected

Technology has still continued to

views to other movement systems within the

innovate into new materials and methods, but

spatial network. Tunnel walls and surfaces

for the most part are still dominated by a frame

also become a canvas for artists to design;

construction system. One question that must

to address the viewer in a form of elongated

be asked is “how does a moving automobile

stasis.

occupy

spatial parameters and desired experiential

and experience a tall building?�

The project proposes a new conceptional relationship

between

user,

vehicle,

and

building. When designing for automobiles, turn radii plays a vital role in planning, demanding a radical change in construction and spatial organization.

The

dynamics

between

movement and stasis are key relationships in

the

evolution

of

this

building

type.

One way of articulating the program is by categorizing a list of spatial experiences.

This proposal is both a transitory structure and one of destination. Defining those moments and overlapping experiences is essential.

Vehicles entering into the building must be slowed down to a speed to a point where they can participate in the experience. This can be accomplished through the use of sloped and spiral ramps.

Procession through space can

be influenced through daylighting strategies by controlling porosity in the form. Moments of compression and expansion elevate means of procession through the control of ceiling heights and openings though spaces. Levels 60

The criteria discussed will establish

conditions

sought

after

in

this

design.

Figure 46: Form as an animated assembly. Bratton, B. (n.d.). IAAC / Digital Technologies in Architecture / 2007: Recombinant Architecture. IAAC / Digital Technologies in Architecture / 2007. Retrieved May 18, 2012, from http://iaacdigitalarchitecture.blogspot.com/2007/12/recombinant-architecture.html 61

09

PROGRAM ANALYSIS

The Goat Farm is an artist community in Atlanta that provides unique experiential opportunities for visitors and residents.

It's

program consists of performance venues, gallery spaces, coffee shops, studio live/work spaces, and rentable studio spaces for artists.

It is a grassroots community that is spirited in its commitment to the people of the city, providing a mechanism that supports the arts and supports cultural activity. It is a re-adapted cluster of warehouses located in Fulton County which offers local artists both live/work studio spaces as well as normal studio spaces that are both affordable and generate attention.

The Goat Farm Arts Center positions

Figure 47: Goat Farm Arts Center. Mullins, Andrew. "The Goat Farm- Atlanta."

Andrew Mullins. http://www.andrewwmullins.com/the-goat-farm-atlanta/ (accessed May 5, 2012).

62

63

itself as an open community for creative

architecture is the spirit perceived in man’s

exchanges to take place and for innovative

labor.

thought to be stimulated. Exhibition halls are

common intuition that is at the heart of craft.

not closed and conditioned buildings.

It is a search for the sublime or a

They

are rustic and tired walls with no windows and open roofs, where the only remnants are its A-frame structures.

Walls are canvases

for street art and the floors are compacted assemblages of sand and brick.

There is

an air of expressive and youthful mentality.

This

organization

and

program

align well with this thesis not only for its social

and

cultural

relevance,

but

also

to relating the artists’ process with the architects’ process. The link between art and

64

Figure 48: Goat Farm Arts Center. Mullin, Andrews.

65

10 Craft

is

defined

as

a

process

combining knowledge and application with matter and tools. It is a guiding instruction set, an operational framework. Risk and intuition are constantly at work in the maker’s hands and imagination allowing him to link unrelated and otherwise unrecognizable entities, leading him into a process of discovery. Digital craft operates according to the same criteria while taking into account new forms of risk that result from emerging tools and methods.

When considering its application and context, it becomes a periodic manifestation in the process of making, in which the artifact retains evidence of its becoming.

66

In this

DESIGN PROCESS AND OUTCOMES

Figure 49: Optimized form digital study. Illustration by author.

67

respect, the tool, technology, or technique

DIGITAL SEWING

carries as much importance as the artifact itself.

laminating

Digital sewing is explored in a broad context

techniques help develop a framework for

Sewing,

weaving,

and

as first an organizational tool for structure,

digital craft to emerge in this project.

on

space, and material. Sewing patterns establish

are considered to understand their influence

constraints where material is to be fixed using

over material and the overall impact on form.

linear and button stitches. Locations are defined

ORGANIZATIONAL DIAGRAM

68

DIGITAL SEWING Figure 50: Digital sewing technique instruction set.

Illustration by author. where loads meet the ground, automatically

for organizing various relationships. It begins

generating a corresponding diagram that

to tie relationships of fabrication with material

associates conditions of space with distance

heterogeneity by organizing material densities

and

elements.

near structural conditions and circulation paths.

Seams are then selectively reduced to allow

A flexible sheet material and plastic medium

varying behaviors in the system to emerge. The

are used in the production of this exercise

resulting diagram is a conceptual instruction set

to demonstrate the negotiations between

density

of

corresponding

69

Figure 51 (top): Simulation of material affects.

Figure 52 (left): Physical study model using digital sewing technique.

Figure 53 (right): Speculative model to scale on site.

70

71

vehicular movement systems

crude mesh generated form network

selective filtering of mesh faces

Selectiv e filterin

Detail types: desired conditions

g

2 Figure 54: Generative form-finding methods in minimal surfaces. Constraints are defined in surface construction for varying results as form attempts to reach a minimal surface condition. Illustrations by author.

72

relaxed mesh form resulting from forces

1

3

structure and material as a form-finding

governing the direction of vectors and points.

model. The study model illustrates a minimal

Instead of creating form, we now develop

surface

sets of relationships.

condition

induced

by

internal

By combining sets of

As material

internal forces as a series of constraints and

expands and contracts, it attempts to find

subjecting them to pre-defined simulations

a moment of equilibrium. This logic follows

we essentially set up a framework for the

Frei Otto's "optimized path system" where

"Intuitive Leap" to occur. It is an open-ended

he describes paths will converge based on

system that allows moments of discovery.

pressure and external forces.

attraction

of nearby elements.

Minimal

surfaces are a result of forces attempting to reach equilibrium in some form of matter.

Digital

craft

seeks

to

synthesize

properties of architectural form as a multi-faceted system capable of amalgamating performative traits with qualities of space and experience.

Through physical modeling of plaster and flexible fabric, a behavior of material and structure becomes apparent that can be simulated in the digital environment.

Mesh

relaxation

simulation

of

fabric

experiments

(digital

structures)

continue

the logic of previous studies and become the foundation for further digital studies in form-finding for an urban groundscraper.

Computationally-driven

techniques

require knowledge of parametric tools and other assisting programs. Form is no longer a linear development, but is a network of rules 73

Figure 55: Form-finding procedural diagram.

Illustration by author.

74

Form finding process developed in this thesis

structural requirements, creating the operative

project follows a pattern illustrated in the figure

mesh primitive. The form is then subjected to

above. Initial mesh primitives are constructed

exterior forces defined in this thesis through

according to site constraints relating to

simulation, creating a relaxed and optimized

movement.

structure.

alternative

Vehicular

transportation,

The resulting

geometry serves

transportation, and pedestrian

as a base form that will be further refined

circulation comprise the movement systems

through analytical procedures to address

that help dictate material organization. Meshes

various

take shape according to spatial and program

criteria. These reductive processes continue

requirements

to filter material and structure producing

consisting

of

office,

retail,

performance, restaurant, vehicular, and other

a

form

performative

that

is

and

formed

by

experiential

its

context

supporting spaces. Combined with these are 75

February

March

July

August

September

Figure 56: Solar studies for each month

Figure 57: Solar diagram

76

SOLAR IRRADIATION ANALYSIS

January

SOLAR IRRADIATION ANALYSIS

April

May

June

October

November

December

Figure 58: Aggregation of material based on solar requirements 77

Figure 59: Grasshopper definition of parametric module

5

1d

2d 3d 4d

5d

4

3

2

1

z

x Figure 60: Parameters control size of opening for each cell. Corners of each module remain constrained.

78

Figure ?: Family of cells used to aggregate surface based on solar analysis.

Figure 61: Material reduction of surface based on solar irradiation criteria.

Variable output is accomplished through parametric manipulation.

79

80

Figure 62: Study of form on site. Branches reach out to integrate various movement systems and supporting exisiting activity on site.

81

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