AADRL_Workshop1_ElSayed

EVEN UN EVEN Workshop 1 . Material Behavior Tutors: Mustafa El Sayed . Apostolis Despotidis Team: Kyle Onaga . Lisa Kuhnhausen . Pierre Bianchi

CONTENTS

Agenda 5

Techniques 6

Even Uneven 8

Shell to Rib Transition 12

Directionality 14

Integration 20

Moving Columns 30

On Second Thought 32

Conclusion 35

Appendix 36

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AGENDA

The research presented on the following pages is an exploration of the material qualities plaster carries when it is combined with Lycra formwork. Preliminary studies investigate how deformation of both plaster and Lycra are controlled with a series of stitching techniques. These studies lead to a more deliberate application of stitching patterns to create a roof structure. Thus, horizontal load transfer becomes the main focus of inquiry. Material distribution is effectually controlled to define structural ribs and a lightweight shell. The culmination of the roof research is then combined with columns (by others) to develop into an integrated standing structure.

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TECHNIQUES

ANALOG MATERIALS USED

DIGITAL MATERIALS USED

Lycra

Maya

Thread Plaster Wood Frame

STITCHING TECHNIQUES

TOP STITCH On a Single Layer of Lycra

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CONTROL POINT Between Two Layers of Lycra

CONTROL LINE Between Two Layers of Lycra

TUCK (RIB) On a Single Layer of Lycra

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EVEN UNEVEN

Opposing deformation types emerge through the deployment of two stitching techniques: top stitching and control points. The two examples below show a dichotomy of results that transpired during the early stages of exploration: an even distribution of material (shell) and an uneven distribution of material (structure). Though they are quite different, when combined these two outcomes can work together to create a scalable horizontal surface. That is to say that it is surmised that neither the shell nor the bulge/rib structure could scale up alone, but rather they need one another to create a large surface.

STUDY 4

EVEN (SHELL)

tension point (4 corners)

pour point

Start Size: 20cm x 40 cm x .25cm End Size: 20cm x 40cm x 7cm Frame Size: 50 cm x 50cm x 50cm

top stitch (even distribution) control point (even distribution)

Techniques: Top Stitch Control Point

STUDY 3

UNEVEN (STRUCTURE)

tension point (4 corners)

Start Size: 20cm x 40 cm x .25cm End Size: 20cm x 40cm x 14cm Frame Size: 50 cm x 50cm x 50cm Techniques: Top Stitch Control Point

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top stitch (uneven distribution) control point (uneven distribution)

pour point

Multiple control points and top stitching which are evenly fielded will create a thin and lightweight shell.

Control points and top stitching which are placed at random yield uneven distribution of material where various bulges are created. This gives way to an inchoate idea of structure.

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EVEN SHELL

UNEVEN STRUCTURE

+

10

=

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SHELL TO RIB TRANSITION

Although they are seemingly disparate parts, the shell and the rib work closely with one another. Consequently, an examination of the transition between the two elements came about through various studies of how to control the tucking of the rib and the location of the control points and lines in relation to the rib. It was revealed that the location of the control points and lines determine the width of the rib more than the rib tucking technique.

However, the tucking technique was useful in articulating and defining the deformation of the rib.

tension point (4 corners + 2 center points of long edges)

STUDY 8

NO RIB DEFORMATION

6cm

Primary

ry

da

n co

Se

End Size: 20cm x 40cm x 20cm

6cm

Start Size: 40cm x 80 cm x .5cm

Frame Size: 100 cm x 50cm x 50cm Techniques: Top Stitch Control Point Tuck

pour point (4 corners + 2 center points of long edges)

STUDY 6

RIB DEFORMATION

tension point (4 corners)

12

ry da

Techniques: Top Stitch Control Point Tuck

6cm

Primary

n co

Frame Size: 50 cm x 50cm x 50cm

pour point

Se

End Size: 20cm x 40cm x 15cm

2cm

Start Size: 20cm x 40 cm x .5cm

edge of control point and line

6cm

2cm

edge of rib tuck

edge of rib tuck edge of control point and line

final rib width = 6cm

RIB WIDTH IS DEFINED BY CONTROL POINTS AND LINES

A rib tuck that edges a control point and/or a control line causes no change in the width of the rib when plaster is introduced.

When a control point and/or control line is away from the edge of the rib tuck the rib width is defined by the control point/line.

The rib tuck then becomes an articulation method for the rib.

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DIRECTIONALITY

Until now, control points and lines were utilized to create a thin shell structure. However, in large scale models the plaster did not evenly travel to all of the shell areas. Therefore, continued research of shell patterning emerged to develop a technique which allows plaster to be deposited based on the directionality of its flow from the pour points. Ultimately we were examining a method in which we could control the way plaster emerges in the Lycra formwork. That said, it is acknowledged that there is a fine line between overly controlling material and giving way to generative form finding. We are walking that line.

STUDY 9

PLASTER FLOW DIRECTIONALITY Start Size: 40cm x 80 cm x .5cm End Size: 40cm x 80cm x 60cm Frame Size: 150 cm x 80cm x 100cm Techniques: Control Point Control Line Tuck

POUR POINTS Pour points occur where ribs intersect the edges.

In this example the 4 corners and the center point of the 2 long edges.

PLASTER FLOW The arrows denote where the plaster is intended to flow based on the new directional orientation of the control lines.

TENSION POINTS Tensioning the Lycra to the frame occurs at the same locations of the pour points. In this example the 4 corners and the center point of the 2 long edges.

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PRIMARY RIBS

PRIMARY + SECONDARY RIBS

PRIMARY + SECONDARY RIBS

Working in Maya to quickly analyze the deformation and low points of a proposed model proves to be a useful tool, albeit not precisely representational of the final outcome.

length

width = length/2

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ONE LOW POINT

*TWO LOW POINTS*

TWO (OR MORE) INTENDED LOW POINTS When utilizing a symmetrical pattern the low point of the model was historically at the center point of the Lycra. The goal here is twofold. We propose to move the low point away from the Lycra’s center AND create more than one low point, which eventually could result in this “roof” intersecting with more than one column.

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STUDY 10

RESPONSE TO PLASTER FLOW DIRECTIONALITY Start Size: 40cm x 80 cm x .5cm End Size: 40cm x 80cm x 40cm Frame Size: 150 cm x 80cm x 100cm Techniques: Control Point Control Line Tuck

CONTROL LINE DIMENSIONS

It was observed that as the scale grew the challenge of distribution of the material to the desired location was becoming increasingly difficult. A directional approach was then applied to facilitate the plaster’s flow, which also leads to a more performative structural form.

LONG DIRECTIONAL CONTROL LINES

Control lines are long and spread out as they ascend away from the low point of the column. Here the plaster needs quick entry into both the rib and the shell. Plaster does not accumulate easily in these areas since they are the high points of the model.

Therefore, less control is necessary.

SHORT DIRECTIONAL CONTROL LINES

Control lines are short and dense as they approach the columns. Plaster pools near the columns since they are the controlled low points of the model. Therefore, in order to have definition between the rib/column and shell a higher level of control needs to occur in these areas.

CONTROL LINES ADJACENT TO RIBS

The rib tapers from the pour/tension points towards the low points, or the columns.

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11 12 14 15 18 20 23 27

26 33

21

20

29

36 40

89

39 8 10 12 14 15 50 18 35 45

14 19 24 28 30 33

60

37

43 48

41

54

36

54

36 86

33 46

76

36 31

13 21 22 26 31

53

7

48

79

75

55

113

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INTEGRATION

The last stage of our study directed the experiment towards an integration with the rest of the workshop groups.

More specifically, the roof had to integrate with 2 very different columns. Before joining the parts, two studies were made to examine the type of joints and material flow form the ceiling to the column. It was clear that upon integration between the columns and roof the deformation of the roof would be significantly altered as compared to the previous studies. Previously horizontal load transfer was the primary concern, however the weight of the columns created a vertical tension of forces. Due to the weight of the columns the roof had a new direction of stretch. In order to negotiate this overly vertical deformation the fabric was stretched to a much greater extent within the frame before poring. However, this alteration would have resulted in far less allowance for deformation in the horizontal axis.

FURTHER IMPROVEMENTS. It would be advisable that future studies focus attention on a more integral approach between column and roof. Most particularly between the columns and the ribs, which may have the opportunity to be more holistic amalgamation. A reassessment of the hanging points may also be necessary to better assist the horizontal nature of the roof.

STUDY A

Holistic integration of the 2 surfaces where a funnel effect was created to allow for flow of both the fabric and the material. This joint appeared to be more holistic.

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STUDY B

Integration of the outer fabric surfaces allows for more pooling of material above the column. This joint appeared to be stronger and more controlled.

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Stabilized Central Rib

Shifted Low Points to Meet Columns

22

Hanging Point

Hanging Point

Hanging Point

Hanging Point

Hanging Point

Hanging Point

Hanging Point

Hanging Point

Hanging Point

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Shell

Rib

Roof to Column A Joint

Roof to Column B Joint Column A

Column A to Base A Joint

Column B

Base A

Column B to Base B Joint Base B

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Primary Forces Secondary Forces Tertiary Forces Pour Points

RIB HIERARCHY

Primary, Secondary, and it could be argued that tertiary ribs emerge from the directional control line pattern.

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26

27

28

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MOVING COLUMNS

DIRECTIONAL CONTROL LINES WITH PERFORMATIVE UNEVEN MATERIAL DISTRIBUTION 1. Arrange column positions.

2. Set rib directions emerging from column position. i. Set number of ribs to emerge from each column. ii. Triangulate surface with attracting ribs to columns, corners, or midpoints.

3. Determine the hanging locations to make all the columns low points.

4. Fill gaps with radially diffusing stitch pattern. The aim is for an equally thick infill layer between the ribs. i. Closer to the columns: use a denser and smaller control lines and/or control points. ii. Away from columns: use longer and more spaced out control lines. iii. If there are other possible low points then reorganize the stitch pattern make the stitch denser radiating from those area.

COLUMN JOINT DETAILS

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2 ASYMMETRICAL COLUMNS

3 ASYMMETRICAL COLUMNS

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ON SECOND THOUGHT

Throughout the process models were viewed as catenary roof structures.

But what happens when the model is flipped?

It could become a pavilion.

ground plane

ROOF

32

PAVILION

33

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CONCLUSION

The aim of this catalog is to document an investigation of material organizational strategies using a small set of techniques. The plaster is an active agent in the form making process. Material behaviors such as pooling and bulging emerge in the process of making. The implementation of the rule sets were rigorous and the results were unique.

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APPENDIX

MODEL 1 Size: 20cm x 20cm Water/Plaster Ratio: 1:1.5 Technique: Control Points

Idea: Explore basic sewing techniques including tucking the lycra to control the plaster. Pour from one pour point.

Result: The tuck points create a Next Step: Find a technique that pillowing pattern, which resembles allows us to have more control over a spine. the deformation. Also, create a thin shell that will still stand.

MODEL 2 Size: 20cm x 40cm

Idea: Continue with tucking.

Implement a quilting technique Water/Plaster Ratio: 1:2 to add a second layer of control.

Deploy the tuck points in three Technique: Control Points (36), Top ways: close together and random, Stitch close together and consistently fielded, spread apart and consistently fielded.

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Result: The quilting with tuck points which are close together and consistently fielded create the most control and thinest shell. However, in the end, the model broke in half.

Next Step: Try the same technique again, but add more plaster to achieve more deformation so we can see how the tucking and quilting are truly working together and separately.

MODEL 3 Size: 20cm x 40cm

Idea: Same method as Model 2, but Result: A large bulge is created with less tuck points. near the center of gravity where Water/Plaster Ratio: 1:1.5 there is no tucking or quilting.

Tucking alone creates some control, Technique: Control Points (16), Top as does quilting alone. Tucking and Stitch quilting together creates the most control over deformation and a slightly pillowed pattern, similar to what we saw in Model 1.

Next Step: Utilize the quilting and tucking techniques in a very consistent field to control the deformation as much as possible.

MODEL 4 Size: 20cm x 40cm

Idea: Find a maximum amount of deformation control with Water/Plaster Ratio: 1:1.25 the techniques that have been employed thus far. Create a fielded Technique: Control Points (86), Top tucking and quilting pattern over Stitch the entire model.

Result: The model is mostly Next Step: Once we make the model consistent in plaster distribution. larger we will need structure.

A pillowed pattern is created as a Create a rib or ribs to add structure. result of the techniques. There is no hierarchy.

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MODEL 5 Size: 20cm x 40cm

Idea: Cross from corner to corner to create the ribs (structure). The field Water/Plaster Ratio: 1:1.5 pattern is consistent and follows the lines of the ribs in a concentric Technique: Control Points (144), Top pattern.

Stitch, Tuck

Result: The rib is defined but too Next Step: Let go of control around controlled. The field pattern is filled the rib so that it can expand more consistently with plaster, but is still and become more structural. a thin shell.

MODEL 6 Size: 40cm x 80cm

Idea: Add a limited number of tuck points around the rib so that it Water/Plaster Ratio: 1:1.5 can (potentially) grow organically.

Implement a primary and secondary Technique: Control Points (44), Top rib structure.

Stitch, Tuck

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Result: The main rib is performing in the way we anticipated in that it is thicker and more gradually blends into the field. The primary and secondary ribs are defined. The fill is even and consistent.

Next Step: Double the size of the model and continue to explore primary vs. secondary ribs and new tuck patterns that can be implemented over a larger area.

MODEL 7 Size: 40cm x 80cm

Idea: Create three sizes of ribs.

A primary rib, which runs down Water/Plaster Ratio: 1:1.5 the center. Secondary ribs, which branch out from the primary Technique: Control Points (118), Top towards the four corners and center Stitch, Tuck point of the long edges. And tertiary ribs, which bifurcate from the end points of the secondary ribs.

Instead of tucking with a single dot, tuck with stitching lines.

Result: The primary and secondary Next Step: Take out the tertiary ribs ribs are clear, however, the tertiary and continue to explore new tuck ribs are not performative. The patterns. primary and secondary ribs are too controlled again, similar to Model 5.

The tuck points define the ribs and provide a high level of deformation control.

MODEL 8 Size: 40cm x 80cm

Idea: Create tightly detailed patterns to understand how plaster Water/Plaster Ratio: 1:1.5 flows into areas which are highly controlled for deformation. Remove Technique: Control Points (155), Top the quilting element because the Stitch, Tuck control we expect to get from the tuck points seems sufficient.

Result: The tuck points are too intricate and therefore they restrict the plaster too much. The primary and secondary ribs are not very defined.

Next Step: Though the tuck points have some performative value, they are becoming too decorative. Let go of control.

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MODEL 9 Size: 20cm x 40cm

Idea: Only use the rib stitching that is developed in a Maya model and Water/Plaster Ratio: 1:1.5 just a few tuck points. This is a study to understand how accurately Technique: Control Points (20), Tuck the Maya model translates to the physical model. Furthermore, it might prove how few control points we need to control deformation.

Result: The ribs started to be expressed, however the plaster pooled at the center/bottom rather than spreading out to the extents of the Lycra formwork. Also, the rib stitching started to break due to the weight of plaster.

Next Step: Start to add control points again. Develop a tuck point pattern that supports the flow of the material from the pour points.

Result: Two low points are achieved and the tuck point fields fill up with plaster gradually. However, the ribs on top as compared to the ribs at the bottom are different from one another. The top is thicker and less controlled. Also, where the tuck points edge the rib, the distance between the tuck points needs to be larger to allow plaster to flow into the tuck point fields more efficiently.

Next Step: Add rib stitches to the top layer of Lycra and increase the distance between the tuck points. Different shapes will start to emerge in the field areas when the columns are not placed symmetrically and when there are more than two columns. Start to develop a tuck point pattern that can be parametrically dispersed in a field area of any shape.

MODEL 10 Size: 40cm x 80cm Water/Plaster Ratio: 1:1.5 Technique: Control Points, Control Lines, Tuck

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Idea: The low points need to be at the joint of the ribs. These will be where the columns meet the ceiling. Create a tuck point pattern that expresses and works with the flow of plaster into the model and that allows the plaster to pool at two points. Locate pour points where ribs hit the edges of the model.

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