Robotic art
tutor: Krassimir Krastev
introduction Krassimir Krastev
The drive for mass computerization of technology and the development of CAD and CAM systems brought up further integration between design and manufacturing, manifested by the embrace of robotics by architects. The Robotic Art course commenced with a workshop during which the students produced 2-dimensional drawings with a KUKA KR 16-2 robotic arm. This is the easiest exercise to do with a robotic arm and it is ideal for getting started with robotic fabrication.
2
During the rest of the semester the students continued developing more art pieces, particularly sculptures, experimenting modelling techniques with Rhino and Grasshopper. The sculptures were then cut from styrofoam with the robotic arm and a hot wire cutter. The overall process gave the students suďŹƒcient understanding and experience in parametric modeling and computational design, governed by material, structural and manufacturing constraints rather than subjective formalist concepts; as well as knowledge in robotics and computer controlled fabrication. Although the learning curve was rather steep, no previous knowledge or experience was required because we started from the basics.
3
Part One Drawings
4
5
6
7
01
Expression of Creativity Through Grasshopper & KUKA Robotics
Dineshraj. P , Akanksha, Eugene Lim Yen Yong,
The images above were created using Culebra, a Grasshopper plugin in which flocking behaviour is simulated and controlled by a wide array of parameters. In my case, flocking behaviour was set to be quite omnidirectional yet moving together in small groups, creating these lines of movements. Additionally, an attraction sphere was placed within the boundaries to create further interesting lines. This 3D flock was then projected onto 2D and sent to the KUKA robotic arm to be drawn
Final sketch by KUKA
8
>> >>
Tracing the sound waves - The idea orignated by tracking the movement of ping pong ball & later it trasformed into sound wave travelling in closed space. To generate in grasshopper we made a rectangular bounday & placed a source point inside it. From scource we directed 3 lines travelling in linear direction & finding the intersection point with the boundary. From this point we again directed 3 lines each with angle equal of incidence angle of primary line hitting the boundary. With the use of Anemone we are looping the Process Finally from all intersection point we simulated a wave of curves.
Final sketch by KUKA
9
02
Silhouette Weaving
Rostyslav Skyba, Dylan Deguzman
FLOCKING (behavior) The behavior exhibited when a group of birds, called a flock, are in flight. There are parallels with shading behavior of fish, the swarming behavior of insects, and herd behavior of land animals (wikiopedia)
Point Cloud
Tracing the point motion
Points Connectivity
Tracing the motion of points connectivity
Point CloudBROWNIAN MOTION
SILHOUETTE WEAVING Image formation using straight lines. Code by Laurent Delrieu.
FABRICATION Special tape developed for a robotic technologies was used
03
Patterns
Silvia Amor , Daniel Jaramillio, Mohmed El naggar, Kamal Mohamed
Part Two Scluptures
01
Acoustic Panel Design
Silvia Amor , Daniel Jaramillio, Mohmed El naggar, Kamal Mohamed
3d Model (negative)
Outcome
02 3d Model
S Shape
Silvia Amor , Daniel Jaramillio, Mohmed El naggar, Kamal Mohamed
03
Wave
Dineshraj.P , Akanksha , Eugene Lim Yen Yong,
The Process The form of the sculpture here was inspired by the waves of the ocean. The model was fully generated through Grasshopper, no Rhino modelling tools were utilized. The sculpture was designed to be like an infinity loop and as a single loft, in order for the hot wire cutter operated by the KUKA arm to be able to cut an entire form out of one foam cube.
04
Leafie
Dineshraj.P , Akanksha , Eugene Lim Yen Yong,
The Process
Lofted surface between 3 sin curves resulting suppoting in the base. First we made basic curve profile to define the geomentry. Modifying the simpe curve into sin curve and lofting them. Rebuilding the curves with similar control points to make the loft uniform. This resulted in intresting curvilinear surface. Each of the outer profile curve is been used as tool path of the robotic arm. The movement of robotic arm was with in the reach and the movement of the arm along its generated path can be seen in the pics placed in the bottom.
05
Cloud
Xiaoyi Zhang, Ziming Fan, Yong Han
Steps Start from two groups of curves... Create waves follow the curves... Take these two curves into Grasshopper and create a surface... Bake the surface and the cube(240*120*240) into rhino...
Cloud is created now...
22
cutting process
result
23
06
Just another Rhino
Stina SHABANI, Fiton ZOGAJ, Valmir KASTRATI, Lindi HASANGJEKAJ
THE ROBOTIC ART PLOT: The electives idea is to digitally produce arts by using the KUKA Roboter with a hot wire cutter and foam as material. The process started by learning loops in grasshopper so we can reproduce certain elements if needed through designing our models. The next step was designing our models through Rhino and Grasshopper and get the files ready for process. Processing the model was the detachment of curves from the model, including them into the HAL Grasshopper and testing with the simulator if everything will go as planned before cutting the actual model. The results will be as following.
24
THE MODEL PROCESS:
1. Create the 20x20x20 Foam Box Model.
2. Draw the Rhino Logo Curve.v
3. Extrude the Rhino Logo Curve.
4. Fit it into the Foam Box
5. Trim the Extrudion with the Loft.
6. Final Shape.
result
07
2S shape
Amro Hamead, Hossameldin Badr, Lada Mitkovic, Mohamed Mansour, Octavian Catlabuga, Shazwan Mazlan
create the curve
loft the curve to create the surface
extrude the surface
create the curve
loft the curve to create the surface
intersect the surface with extrusion
final form
left elevation
isometric
08
Acoustic Panel Design 2
Amro Hamead, Hossameldin Badr, Lada Mitkovic, Mohamed Mansour, Octavian Catlabuga, Shazwan Mazlan the fabrication of sound: we started with defining a matrix and several control points. the inteference forces of cymaticwaves reveal a morphology. The matrix is disrupted by the waves pulses of various frequenxies and amptitudes. The interferences is interpreted using a series of scripts: firstly defining the distance between wave source and the matrix point, then sistributing the matrix points by the senior or cosine functions. The patterns would be more complexed when defferent wave function add in.
09
Mushroom
MD MUSHFIQUE AHSAN
Process 1. 3D MODEL WAS MADE USING RHINOCEROS 3D
2. THE TOOLPATH WAS CREATED AND PLACED INSIDE THE BOX WHERE IT IS SUPPOSED TO BE CUT
3. THEN THE ROBOTIC ARM WAS VIRTUALLY CHECKED IF IT COLLIDES WITH THE TABLE OR THE STAND AGAIN
4. THEN THE PROGRAMS WERE COPIED TO THE ROBOT AND THE CUTTING STARTED ALONG WITH THE TOOLPATH
8. AFTER FINISHING ALONG WITH THE FIRST TOOLPATH THE CUTTING STARTED ALONG WITH THE SECOND TOOLPATH
9. AFTER CUTTING WAS FINISHED EXTRA PIECES WERE REMOVED TO REVEAL THE ORIGINAL SCULPTURE PIECE.
FINALLY WE HAD PRODUCED THE SCULPTURE SUCCESSFULLY JOINING BOTH THE POSITIVE AND THE NEGATIVE PARTS.
10
Twist box
Mariya Benovska, |Caecilia Ezabelle, Laimun Hazelzhou You, Imran Ali
Simple box with dimensions
Twisting of the box along its height
Form Evolution
Simple twist
Top Views
Increasing amount of twist
smoothing edges of twisted box
Narrowing and modifying the top of the box, deforming right, left sides
11
Layer cake
Philip Lam, Gulfia Kutlahmetova & Geoffrey Chew
12
Jewel
Leong Chee Chung, Lim Tian Jing, Charlene Chan Huishan, Tsu Tsen Teh, Anna Rogowska, Wei Hoow Ong, Chee Seng Kong
Introduction The aim of the project is to explore the manufacturing methodology of the robot and to obtain the information such as restrictions and rules as a feedback to the design. In this case wire cutter is used as a tool for this project; hence ruled surface is set to be the design method for the computerization of the art sculpture. A set of restrictions and rules is determined in order to work parallel with the manufacture of the art sculpture.
JEWEL
The Jewel is inspired by the formation of the crystal, it is formed in nature when liquids cool and start to harden. They do this in a uniform and repeating pattern that forms the crystal. It is designed fully based on the methodology of a ruled surface. It consists of 4 continuous angular ruled surfaces. These surfaces are deformed and tilted based on the feedback of the robotic manufacture tool path analysis. Based on the feedback, minor adjustments are applied to create one continuous tool path in cutting the sculpture, and then adjusted accordingly from the collision observation to avoid collision of the tool during the manufacturing process. A test run of the robotic tool path in real life is performed and minor adjustments for instances the placement of the material and angle of the sculpture are then re-adjusted accordingly. A last test run is performed and the art sculpture is manufactured.
13
Curve‘s Wing‘s
Leong Chee Chung, Lim Tian Jing, Charlene Chan Huishan, Tsu Tsen Teh, Anna Rogowska, Wei Hoow Ong, Chee Seng Kong
The idea generated for the model is from the form of a curve. When curves are merged together, a seamless structure can be formed. Through experimenting with different layers of forming the seamless curve, an arc-like structure can be achieved with a certain depth and angle. The curvature of the model forms spaces that encapsulate a courtyard-like void, and a building-like mass. This first step of experimenting around with curve-like structures leads to the next model with an additional element of forming solids and voids. The end result of this first model epitomizes the wings of a bird, taking off or right before its landing, with a natural curve that looks seamless with the sides of the model, while maintaining the curve rhythm of the building. The art sculpture is manufactured after few times of coordination on the robot.
This model is made and designed by forming and understanding solids and voids. An architectural language of fluidity inspired by the formation of stalagmites and stalactites in ice caves. The soft shaped contours create an artificial landscape that describes the movement within the model. The movement that runs through the model forms a zig-zag pattern with pocket-like voids in between. The model is hoped to provoke a sense of ambiguity in the audience from the structure that seems fragile and yet each component is connected with each other. It is designed fully based on the methodology of a ruled surface in two sides. It is trying to create a more 3 dimensional ruled surface and letting the turning radius of the wire determine the accidental outcome of it. After a few test on the robot, the art sculpture is manufactured.
14
Unexpected landscape
Ksenia Lanina
The Robotic Art workshop begins with the basic concepts - how to make the algorithm in „Graphshopper“ and how to operate the KUKA robotic arm and further how to produce same art stuff. The sculpture was modelled using surfaces lofted between curves
pic.1 Next, we produced the toolpaths for the robot
PIC. 2
PIC. 3
After all the settings, we positioned the styrofoam cube and observed how the robot's arm starts working.
pic.4 The result was very unusual and in my opinion quite organic. In the end, you can apply this kind of algorithm and model to create natural objects, for layouts and some bionic sculpture.