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FLE X TILES
University College London | The Bartlett School of Architecture MArch Graduate Architectural Design Research Cluster 6 | 2015 - 2016
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CONTENTS Chapter 1| Introduction Group Members Project Description References
Chapter 6| Digital Design Tools 6 8 10
Chapter 2| Material Research Needle Felting Wet Felting Fiber Arrangements
Inner structure and needle felting Reinforcing with wool fibers Multiple layer sheet
14 16 18
22 24 26 28 30 32
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92 100 106 110 116
End Effector Design 1st Generation Fabrication Logic End Effector Design 2nd Generation Fabrication Logic End Effector Design 3rd Generation Needle Felting Development
136 138 140 142 146 148
Chapter 9| Column Fabrication 36 38 40 44 46
Chapter 5| Design Language Studies Prototype 01 Prototype 02 Prototype 03 Prototype 04 Prototype 05 Design Proposals
Foam Casting Foam+Felt Fabrication Process Analysis Component Aggregation Tubular Language
Chapter 8| Robotic Fabrication
Chapter 4| Basic Digital Tools Simple Surface Differential Circumferences Splitting Cutting Thickness Variations
66 68 74
Chapter 7| Design Development
Chapter 3| Initial Studies Stretching + Wet Felting 3D felting Felting on 2D inner structure
Initial Experiments Surface Control Applications
Pattern Design Fabrication Process Design Analysis
156 158 164
Chapter 10| Digital Design Process 50 52 54 56 60 62
Chair Design Column Design Wall Design Stairs Design Pavilion Design Architectural Space Design
168 184 196 202 208 226
FleXtiles - Research Cluster 6 Supervised by | Daniel Widrig - Soomeen Hahm - Igor Pantic - Stefan Bassing
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Introduction 01 |Group members
Hameda Janahi The mask was designed to fit the face specifically within the groove of the ear bone and extend over the entire facial area to create a protective head piece.
Zoukai Hu The mask is designed with linear element. The parallel lines are deformed in to twisted shape to fit the face, and the continuous strips overlap with each other which creates a hierarchical space.
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Noura Mhied Inspired by the human body and connection between the neck bone and the head. The face mask was designed as an extension to the back bone covering the entire face as a ‘skeletal cage’.
Minzi Jin This mask design use Low Poly as a main design language, in order to reflect the shape and shadow on the face of users. By changing the density of surface and the thickness of lines, the characteristics of the face could be emphasized and the frame created by low poly would become organic.
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Introduction 01 || Project Description FleXtiles Inspired by the age-old craft of felt-making, this project researches for the development of a new craft and material for the production of innovative architectural structures at various scales. Especially with the emergence of modern ‘free-form’ designs have challenged practitioners to seek for new fabrication techniques that can easily create such structures with less time, effort and material. The research will focus on introducing the potential of fibrous wool material as a new building block, for creating organic structures that smoothly transition from soft to hard textures, to create new spatial sensations and experiences within the field of architecture. By going beyond the traditional uses of felt wool and reconsidering its many natural-given properties, architecture can create spaces that combine both the natural and synthetic, a concept that has yet to be fully exploited in the man-made world of architectural design. Wool fibres have been used for many years throughout history to make different kinds of textiles for clothes and shelter. Nowadays they are being used for a wider range of products from artistic sculptures to thick acoustic panels in building construction. However, this versatile material can be processed in various ways to simply adjust its physical appearance and characteristics according to different functional requirements, which makes it quite intriguing to develop complex forms in architecture.
Felt wool is also very responsive and can be smoothly controlled to be shaped into various forms unlike most traditional materials. However, its structural abilities have yet to be tested to the limits, specifically in larger scales. So far, felt fibres have been compressed into flat sheets that cover inner structures of wood or metal. This paper will address this issue and propose how such a flexible, adaptable material can create self-standing and light weight structures by relying on the natural ability of felt to easily transition between hard and soft textures.W The unique methods in which fibres are compressed together to transform themselves into a solid mass is also another attribute for the perceived continuity in a felt wool structure. When fibres are merged together, they form an irreversible and resilient bond so no adhesives or stitching is required to join different parts together. Such a naturally given intelligence can create endless possibilities in creating stronger and unbreakable structures. With the rise of technology in the architectural industry, the need to revolutionize materiality in structure is evident. Therefore, this research will firstly discuss the natural abilities of felt wool and investigate its hidden potential in the production of a much more tactile architecture with unique spatial and visual experiences.
8 Various samples of different types of wool fibers (Source: Pintrest)
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Introduction 01 || Reference Reference : Felting Art The age-old craft of felt-making is explored to investigate the potential of non-woven fabrics in the production of architectural structures at various scales. Felt fabric has many uses that range from small artictic scupltures to acoustic panels in building construction. This verstaile material can be processed in many ways to simply adjust its characteristics according to its function which make it quite intriguing to develop complex forms in architecture.
Image 01: Textile Art, Pam de Groot
Image 02: Felt Scupltures, Andrea Graham
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Image 03: Clay Art, Marc Quinn
Introduction 01 || Reference Reference : Hyperbolic scupltures The aims is to take advantage of the natural characteristics of felt fibers in creating fabric architecture without stitching or using glue. The initial approach was to create customized felt sheets that can vary in thickness and easily transition from hard to soft textures. This research highlights the possibilities of using such a natural material to go beyond building simple tent-like structures to potentially functioning as structural elements in architectural design.
Image 01: Fiber Art, Anne mudge
Image 02: Paper Art, Pintrest
Image 03: Light Scupture, William Leslie
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[ Material Research ] Felt fibers is a versatile material that can be processed in various ways. Needle felting and Wet felting are the most common techniques of comressing the fibers together. This unique property can create a gradient of hard to soft textures can be achieved according to the level of general comactness of the material.
- Needle Felting - Wet Felting - Physical Initial Studies - Digital Initial Studies
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Image of felt fibers bundle
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Material Research 02 || Needle Felting
Needle felting is done by the continous ‘puncturing’ of a bundle of felt wool which are then compressed together. The texture of the felt sheets produced is proportionate to the number of ‘stabs’. Felt fibers
Felting Needle
Needle felting pad
Sample 01 [4] Fiber Layers
Sample 02 [8] Fiber Layers
Sample 03 [12] Fiber Layers
Thickness Elasticity 14
Texture
Low
High
Low
High
Soft
Hard
Thickness Elasticity Texture
Low
High
Low
High
Soft
Hard
Thickness Elasticity Texture
Low
High
Low
High
Soft
Hard
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Material Research 02 || Wet Felting
Wet felting requires moisture, agitation, and heat in order to intertwine the fibers together. This method produces felt sheets faster and larger than needle felting however produced soft material and needed further hardening / needle felting Wool Felt Fibers
Soap Water
Sample 01 [4] Fiber Layers
Thickness Elasticity 16
Texture
Bubble wrap
Sample 02 [8] Fiber Layers
Low
High
Low
High
Soft
Hard
Thickness Elasticity Texture
Bamboo Mat
Sample 03 [12] Fiber Layers
Low
High
Low
High
Soft
Hard
Thickness Elasticity Texture
Low
High
Low
High
Soft
Hard
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02 | Fiber arrangements
Different fiber arrangements affected the overall local manipulation
1.
Single direction
Arranging the fibers in a single direction was easier to manipulate the fibers within. Single direction
Multiple directions
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2.
Multiple directions
Arranging the fibers in two directions, interlocking the fibers & so harder to manipulate
Different needle felting techniques resulted in different natural curvatures
1.
Vertical needle felting
Collecting the fibers in a vertical direction compressed the fibers and created a harder texture
2.
Angled needle felting
Collecting the fibers at an angle compressed the fibers to shrink in length at different places
Vertical needle felting
Angled needle felting
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[ Initial Studies ] To become familiar with the natural behaviour of felt fibres, it was necessary to understand the various methods of processing the fibres into felt objects. The characteristics of the felt fibres can easily be changed according to the way it is processed so different experiments were carried out by needle felting, wet felting, and a combination of both. Each resulted in different overall results with pieces varying in textures, thickness and composition. - Needle Felting - Wet Felting - Physical Initial Studies - Digital Initial Studies
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Initial Studies 03 || Stretching + Wet Felting
Experimenting the elasticity of the felted fibers, it was concluded that the outer length of the piece can be expanded to create curvatures at different levels specifically at the edges.
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1.
Before stretching
2.
After stretching
One of the initial experiments, the volumetric property of felt was used as a base for the flat surface of felt which were then needle felted together. The flat surfaces were pinched and arranged along the cylindrical inner volume. When the surfaces and the volume were joined together, the inner core became very hard and acted as a support for the whole piece. 1.
Small surface
2.
Inner volume
3.
Large surface
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Initial Studies 03 || 3D felting
3D wet felting In this experiment, a three dimensional mould was used to felt upon. The felt fibers were placed and according to the ballon shaped. The wet felting technique was used to aggitate the fibers and connect them together and form a 3D felted object.
1.
Materials used:
+ Rubber balloon 2.
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Felt Fibers
Wet Felting technique
Placement of fibers
Adding hot water
Agitating the fibers through rubbing
Remove mould
3D needle felting Creating variation of curves and thicknesses as an inner structure. Adding fibers and needle felting them would help in making it more strong. The fiber extension can be don separately or attached to the inner structure and with different lengths and thicknesses.
1.
creating crochet as an inner structure 2.
The logic of making the hyperbolic crochet
3.
Adding felt fibers in top of the carves 4.
Extend the fibers from the inner structure
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Initial Studies 03 || Felting on 2D inner structure
Since felt fibers is naturally a very soft material, this experiment investigates the possibility of using linear elements for support instead of a volumetric inner structure. Needle felting flat surfaces upon a two dimensional inner structure was useful in order to control the amount and exact position of the felt fibers upon the object.This method also introduced a new way to needle felting to create more complex forms.
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1.
2D inner structure
2.
The addition of extra felt layers
In this experiment, a two dimensional inner structure was again used however was manipulated to form a three dimensional object. The inner structure supported the felt to become flexible and stiff within the same piece of fabric by simply adjusting the distance in between each linear element.
1.
Arrangement of inner structure Pull points
Pull points
2.
The addition of extra felt layers
Stiff part
Flexible part
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Initial Studies 03 || Inner structure and needle felting
Due to the soft nature of the felt fibers, an inner ‘vein’ structure was introduce to re-inforce the sheets and give it strength. The distance between the veins affected the shrinking alongside of it and so created different levels of natural curvatures. Bundling the veins together reinforced the felt sheets even more.
1.
Spiral arrangement
2.
Parallel arrangement
Proporties:
Strength Flexibility Stability 3.
Strength Flexibility Stability 28
Low
High
Low
High
Soft
Hard
Branching arrangement
Low
High
Low
High
Soft
Hard
Strength Flexibility Stability 4.
Strength Flexibility Stability
Low
High
Low
High
Soft
Hard
Radial arrangement
Low
High
Low
High
Soft
Hard
The more the veins are joined together, the more the felt is strengthened. The more fibers needle felted together the harder the section will be within the whole piece. Using this method it is easy to control the hard and soft parts by simply needle felting along the veins and joining the hardened sections together while leaving the surfaces soft and flexible. Distance between the veins also control the level of curvature formed after joining
1.
Connecting two veins >> Three big curves
2.
Connecting two veins >> Three small curves
3.
Connecting four veins >> Two big curves
4.
Connecting four veins >> Four small curves
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Initial Studies 03 || Reinforcing with wool fibers
By adding the reinforcing wool just near the inner structure, the whole structure and shape changes drastically. The curves also easily maintain their shape more. Segment 3
Segment 1
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Segment 2
Inner Structure
4.
Twisting and connecting along the veins
Multiple direction
3.
Same direction
Twisting and connecting along the veins
Twisting
2.
Twisting
Inner Structure
Twisting Same direction
1.
Connection
Folding
Inner structure
*Highlight Hard/Soft *Add legend
Twisting
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Initial Studies 03 || Multiple layer sheet
By using the wet felting technique, the layer of fiber could be customized to into two or three layers according to where the fibers are connected. This method can be used to create volume from multiple surfaces within one component. 1.
Arrange fibers into layers
2.
Inner structure arrangement
3.
Separate the layers with a resist
4.
Add a layer of fibers to cover the resist
5.
Layers are separated by cutting
Connection
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Separated layers
Connection
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[ Basic Digital Tools ] [ The basic tools for controlling hyperbolic surface ] Expertiment 1: Simple Surface Expertiment 2: Differentiate the Circumference Expertiment 3: Split into two layers Expertiment 4: More layers Expertiment 5: Cutting Expertiment 6: Creating Thickness
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Digital Tools for generating hyperbolic surface 04 Basic | Simple Surface
The coding is based on spring particle system.By activating the physical system we tried to simulate the shape of hyperbolic sheet.The surface is generated from a centre point, each spring has its instant parameter when being generated.
[ prototype 1 ]
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Digital Tools for generating hyperbolic surface 04 Basic | Differentiate the Circumference
The coding is based on spring particle system.By introducing the function of controling the instant restlenth, we can change thecircumference of each generation. The difference between generations makes wrinkles, letting the surface become hyperbolic.
[ Prototype 2 ]
[ Type 1 ]
[ Iteration 1 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Type 2 ]
[ Iteration 1 ]
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Digital Tools for generating hyperbolic surface 04 Basic | Split into two layers
The coding is based on spring particle system.The surface generating process is intergrated into a class.By set up more class, the surface can split into more than one layer.
[ Prototype 3 ]
[ Type 1 ]
[ Iteration 1 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Type 2 ]
[ Iteration 1 ]
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Digital Tools for generating hyperbolic surface 04 Basic | More layers
The coding is based on spring particle system.More than two layers of split can get more wrinkles and higher resolution, making the basic shape more detailed.
[ Prototype 4 ]
[ Type 1 ]
[ Iteration 1 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Type 2 ]
[ Iteration 1 ]
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Digital Tools for generating hyperbolic surface 04 Basic | Cutting
The coding is based on spring particle system.Added a function of cutting into the class, the surface can tear in some specific positions.
[ Prototype 5 ]
[ Type 1 ]
[ Iteration 1 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Type 2 ]
[ Iteration 1 ]
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Digital Tools for generating hyperbolic surface 04 Basic | Creating Thickness
The coding is based on spring particle system in order to create thickness onto the surface.
[ Prototype 6 ]
[ Type 1 ]
[ Iteration 1 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Iteration 2 ]
[ Iteration 3 ]
[ Iteration 4 ]
[ Iteration 5 ]
[ Iteration 6 ]
[ Type 2 ]
[ Iteration 1 ]
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[ Design Language Studies ] Various experiments were carried out in order to understand the material behaviour . Various qualities were noted throughout these trials that further assited in discovering the potential of felt fibers in creating structural designed elements. After acknowleding the general behaviour and characteristics of felt fibers, a new technique was established to reinforce the fiber sheets. Many experiments proceeded to investigate the natural formations of felt fibers to design self-supporting functional objects within a set of simple parameters.
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Design Language Studies 05 || Prototype 01
In order to add more surface area for volume, the structure layer was segrated from the surface layers.
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Design Language Studies 05 || Prototype 02
To understand the functional aspects of both surfaces and structure we applied these design techniques oto a simple chair design where the bottom seating area was composed of vein structure and the bakc rest of surfaces
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1.
2D Plan of inner structure
2.
2D Plan for the second layer
3.
component after the deformation
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Design Language Studies 05 || Prototype 03
This prototype segregated the structure from the surface to begin to transition from veins to surface.
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1.
2D Plan of inner structure for the first layer
2.
2D Plan of inner structure for the secound layer
3.
2D Plan of inner structure both layers
Fabrication process
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Design Language Studies 05 || Prototype 04
Component fabrication process 1.
2.
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2D Plan of inner structure
Connected veins are twisted to create the 3D form
Aggregation / connection studies 1.
Surface to Surface connection
2.
Vein to Vein connection
1.
Single component
2.
Two components attached together
3.
Vein bundling
4.
Adding the third component
5.
Front view 6 component prototype
6.
Side view 6 component prototype
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Design Language Studies 05 || Prototype 04
1.
Global deformation : Forms bigger curves that are flexible for folding
2.
Structure : Bundled veins create a stiff surface for support & structure
3.
Local deformation : Forms smaller curvatures with more controlled curvature.
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Design Language Studies 05 || Prototype 05
The design eventually is a continuous surface of flet that smoothly transitions from surface to volume to structure. The sense of continuity is achieved from natural merging of the fibers through needle felting creating one homogenous chair of felt.
1.
Structure: Veins are concentrated in the seating area and back rest in order to transfer the loads to the volumetric part of the chair. As well as, assist the chair to stand on its own.
2.
Volume: Volumetric part to absorb loads is composed of multiple surfaces merged into layers of felt.
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Design Language 05 || Design Proposals
Physical column designs
[ Column 1 ]
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[ Column 2 ]
Digital column designs
[ Column 1 ]
[ Column 2 ]
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[ Digital Design Tools ] [ The basic tools for controlling hyperbolic surface ] Initial Proposal Experiments Tools for controlling surfaces Tools Application
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Digital Design Tools | Initial Proposal Experiments 06 || Base on a basic hyperbolic surface [ Prototype 1 ]
[ Basic component of hanging ]
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[ Front View ]
[ Back View ]
[ Top View ]
[ Perspective View ]
[ Prototype 3 ]
[ Basic component of hanging ]
[ Front View ]
[ Back View ]
[ Top View ]
[ Perspective View ] 67
Digital Design Tools | Tools for controlling surfaces 06 || Experiment 1: Control the resolution by custom points
This is based on spring system.To input some custom points to control the resolution of the shape. To culculate the distance between the points and particles, and pick up the particles in within a certain distance. The effection of the these particles will be weakened.
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[ Prototype 1 ]
[ Prototype 2 ]
[ Prototype 3 ]
[ Prototype 1 ]
[ Prototype 2 ]
[ Prototype 3 ]
[ Prototype 4 ]
[ Prototype 5 ]
[ Prototype 6 ]
[Prototype 4 ]
[ Prototype 5 ]
[ Prototype 6 ] 69
Digital Design Tools | Tools for controlling surfaces 06 ||Expertiment 2: Control the thickness by custom points
This is based on spring system.To input some custom points to control the thickness of the shape. To culculate the distance between the points and particles, and pick up the particles in within a certain distance.The restlength between these particles will be changed.
[ Prototype 1 ]
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[ Prototype 2 ]
[ Thickness 1 ]
[ Thickness 2 ]
[ Thickness 1 ]
[ Prototype 1 ]
[ Prototype 2 ]
[ Prototype 3 ]
[ Prototype 3 ] [ Thickness 2 ]
[ Prototype 4 ]
[ Thickness 1 ]
[ Prototype 5 ]
[ Thickness 2 ]
[ Prototype 6 ] 71
Digital Design Tools | Tools for controlling surfaces 06 || Expertiment 3: Input frame
[ Use guided lines to control the overall shape ] [ Prototype 1 ] [ Guide lines ]
[ The final outcome ]
[ Prototype 1 ]
By inputing the black lines to control the shape of the model. Using red lines to control the direction of surface generation. This method give the model a overall shape, which is an important founction for the digital design process. [Frame]
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[Direction]
This is based on spring system.To input a modelled frame. The spring system will be generated through this frame.
[ Prototype 2 ] [ Guide lines ]
[ The final outcome ]
[ Prototype 2 ]
By inputing the black lines to control the shape of the model. Using red lines to control the direction of surface generation. This method give the model a overall shape, which is an important founction for the digital design process. [Frame]
[Direction] 73
Digital Design Tools | Tools Application I 06 || Tools application on simple chair I Resolution
[ Main focus on controlling the resolution ] This is based on spring system.The resolution of the chairs are changed. This method tries to create the arms and the back of the chair, which provides more possibilities of chair design.
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[ Iterration 1 ]
[ Iterration 2 ]
[ Iterration 3 ]
[ Iterration 4 ]
[ Iterration 5 ]
[ Iterration 6 ]
[ Iterration 7 ]
[ Iterration 8 ]
[ Generation Process ]
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Digital Design Tools | Tools Application I 06 |Tools application on simple chair I Resolution
[ Main focus on controlling the resolution ] This is based on spring system.The resolution of the chairs are changed. This method tries to create the arms and the back of the chair, which provides more possibilities of chair design.
[ Logic of chair design ]
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[ Step 1 ] [ Flat Sheet ]
[ Step 2 ] [ Embed Veins ]
[ Step 3 ] [ Reshape ]
[ The basic designing language is surface, which starts from a flat sheet. ]
[ Adding the substructure into the sheet which enhance the structural performence. ]
[ Vein structure guides the overall shape , making the sheet stand and become a chair. ]
[ The final outcome ]
[ Front View ]
[ Back View ]
[ Perspective View ]
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Digital Design Tools | Tools Application I 06 |Tools application on simple chair I Merging
[ Main focus on merging the surface ] This is based on spring system. By merging the different points on the surface, the shape of surface are changed. This method tries to create the different types of the chair, which provides more possibilities of chair design.
[ Iterration 1 ]
[ Iterration 2 ]
[ Iterration 3 ]
[ Iterration 4 ]
[ Iterration 5 ]
[ Iterration 6 ]
[ Iterration 7 ]
[ Iterration 8 ]
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[ Generation Process ]
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Digital Design Tools | Tools Application I 06 |Tools application on simple chair I Merging
[ Main focus on merging the surface ] This is based on spring system. By merging the different points on the surface, the shape of surface are changed. This method tries to create the different types of the chair, which provides more possibilities of chair design.
[ Logic of chair design ]
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[ Step 1 ] [ Flat Sheet ]
[ Step 2 ] [ Embed Veins ]
[ Step 3 ] [ Reshape ]
[ The basic designing language is surface, which starts from a flat sheet. ]
[ Adding the substructure into the sheet which enhance the structural performence. ]
[ Vein structure guides the overall shape , making the sheet stand and become a chair. ]
[ The final outcome ]
[ Front View ]
[ Back View ]
[ Perspective View ]
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Design Tools | Tools Application I 06 || Digital Tools application on simple chair I Layers and volume
[ Main focus on creating layers and volume ] This is based on spring system. The layers of the chairs are changed. This method tries to create the volumn in the different parts of the chair, which provides more possibilities of chair design.
[ Iterration 1 ]
[ Iterration 2 ]
[ Iterration 3 ]
[ Iterration 4 ]
[ Iterration 5 ]
[ Iterration 6 ]
[ Iterration 7 ]
[ Iterration 8 ]
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[ Generation Process ]
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Design Tools | Tools Application I 06 || Digital Tools application on simple chair I Layers and volume
This is based on spring system. By merging the different points on the surface, the shape of surface are changed. This method tries to create the different types of the chair, which provides more possibilities of chair design. This is based on spring system. The layers of the chairs are changed. This method tries to create the volumn in the different parts of the chair, which provides more possibilities of chair design.
[ Logic of chair design ]
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[ Step 1 ] [ Flat Sheet ]
[ Step 2 ] [ Embed Veins ]
[ Step 3 ] [ Reshape ]
[ The basic designing language is surface, which starts from a flat sheet. ]
[ Adding the substructure into the sheet which enhance the structural performence. ]
[ Vein structure guides the overall shape , making the sheet stand and become a chair. ]
[ The final outcome ]
[ Front View ]
[ Back View ]
[ Perspective View ]
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Design Tools | Tools Application III 06 || Digital Tools application on the proposal of pavilion [ Use same tools to design pavilion ]
[ Front View ] 86
[ Top View ] 87
Design Tools | Tools Application III 06 || Digital Tools application on the proposal of pavilion
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[ Design Development ] Various experiments were carried out in order to understand the material behaviour . Various qualities were noted throughout these trials that further assited in discovering the potential of felt fibers in creating structural designed elements. After acknowleding the general behaviour and characteristics of felt fibers, a new technique was established to reinforce the fiber sheets. Many experiments proceeded to investigate the natural formations of felt fibers to design self-supporting functional objects within a set of simple parameters.
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Design Development 07 || Foam casting
The first experiment included using two layers of felt sheets that are needle felted together and then injected with foam to inflate the 3D form. 1.
Expandable foam: In order to expand into a three dimensional form
2.
Felt fibers: Used to connect the felt sheets together without the need for stitching or glue.
3.
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Felt sheets: Used for the overall form and shaping.
1.
Two dimensional pattern on flat felt sheet
2.
Inject foam at the end for inflation
To create fabric tube two sheets in top of each other are seal from the edges. The sealing can be using needle felting or sewing the two layers together. the next step is to cast the foam.
1.
Needle felting the fabric: Single layer of fabric
Results: No leakage around the felting location
2.
Sewing the fabric: Single layer of fabric
Results: Fabric leak around the sawing location and from foaming point
3.
Sewing the fabric: Double layer of fabric
Results: No leakage around the sawing location neither the foaming point
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Design Development 07 || Foam casting
The point of injection gave different results when casting especially in the leaking of the foam and the cured foam density. Location of foaming 1.
One End
Foaming Point
2.
Closed End
Two Ends
Foaming Point
3.
Foaming Point
One Mid Point
Closed End
Closed End
94 Foaming Point
1.
One End Density Soft
Compact
Closed End
Open End
2.
Two Ends Density Soft
Open End
Compact
Open End
3.
One Mid Point Density Soft
Closed End
Compact
Closed End
Open
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Design Development 07 || Foam casting
Minimum width experiments: Different width of the inner structure has been experimented to find out the optimum size. The variation in tubes sizes is important to decide the structural elements required for different parts. The size of the tube effect the density of the foam and consequently the strength. It has been observed that the thinner the tube is the denser the foam gets. The denser foam is, the stronger element. 1.
2 cm
7 cm
Tube width: 2.0 cm
12 cm
Thickness Thin
Thick
Foam Density Soft
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Compact
Strength Weak
Strong
2.
Tube width: 7.0 cm
3.
Thickness Thin
Thickness Thick
Foam Density Soft
Thin
Thick
Foam Density Compact
Strength Weak
Tube width: 12.0 cm
Soft
Compact
Strength Strong
Weak
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Design Development 07 || Foam casting
Maximum Foaming length: Since the foam does not flow in the fabric tube with the gravity, it was a must to solve this fabrication issue.
1.
Foaming straw length
The maximum foaming length can be achieved using the foam straw is 60 cm. the foam is pumped in the tube and pushed manually to the end of the tube. This method is not successful because the manual pushing increase the leakage from the tube.
2.
Extension for the straw length
The use of an extension for the foaming straw allow to maximize the length of foaming and the fabric component as well. The casting of the foam starts from the end of the component and gradually pulled toward the beginning of the component. 98
Maximum Foaming length (60 cm)
Straw Length
Maximum Foaming length (120 cm)
Straw Length
Straw Extension
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Design Development 07 || Foam + Felt
In order to make the structure more stable for architectural scale prototypes, patterns of flat felt sheets were injected with expandable foam to maintain the lightweightness and increase over- all strength. To achieve more complex three dimensional forms, we then experimented with hanging the fabric patterns inside a wooden box or frame. The transition from a flat pattern into a three dimensional form is made through the use of a wooden frame used for the hanging and shaping of the forms. The flexibility of the fabric allows for easy interlocking and bending. The advantage of foam casting was that it created a light weight yet very strong structure. Its penetrable nature also allowed for the needle felting of felt fibers within it. It’s main limitations were that the foam couldn’t be completely controled to reach into the whole pattern of fabric, especially in the tight interlocking points. That is why black tubes were used to maintain the shape while injection of the foam and ease its movement throughout the form. The curing process of foam casting was also quick in compared to other materials. It also saved the use of many layers of fibers that would be needed to achieve the same amount of volume created in a single tube of foam and thus works more efficiently than just using fabric alone.
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Expandable foam: In order to expand into a three dimensional form
Felt fibers: Used to connect the felt sheets together without the need for stitching or glue.
Felt sheets: Used for the overall form and shaping.
Wooden frame : Used for hanging the two dimensional fabric pattern
Plastic tubes: To help maintain the shape of the tubes prior to the injection of foam
Single tube experiments
1.
Free form shaping with different lengths of fabric
2.
Tying the ends to create curvature
3.
Creating hinges for flexibity
Tubular Language: To decrease the need for complex two dimensional patterns, reduce the breaking of the foam and the need for hanging to achieve the over all form, the pattern of each tube was studied alone rather than within a designed pattern pf fabric
101
Design Development 07 || Foam + Felt
Upscale the interlocking tubes More experiments were carried out on different thicknesses using the same interlocking methods. A strength analysis test was also conducted to see which type of could withstand and bear loads the most.
1.
Interlocking type 1 : Single connection point
2D interlocking plan
Load applying point
Interlocking Point Load applying point
Tube width: 2.0 cm to 4.0 cm Deformation Low
High
Strength Weak
Strong
The component is very stable under the applied load. The loading point was the bundling point and so the compo-nent did not deform much.
102
2.
Interlocking type 2 : Double connection point
2D interlocking plan
3.
Load applying point
Interlocking type 3: Multiple connection point
2D interlocking plan
Load applying point
Interlocking Point Interlocking Point Interlocking Point Load applying point
Load applying point
Interlocking Point Interlocking Point
Tube width: 2.0 cm to 4.0 cm
Tube width: 2.0 cm to 4.0 cm
Deformation
Deformation
Low
High
Strength Weak
Low
High
Strength Strong
The component is stable under the applied load. The loading point was in between the bundling point and so the component deform slightly.
Weak
Strong
The component is very stable under the applied load. The loading point was the bundling point and so the compo-nent did not deform much.
103
Design Development 07 || Fabrication process analysis
Method -1 The first way of fabrication using foam as an inner structure is to separate the design into multiple layers. The layers are fabricated separately and afterwards are connected together. First the inner structure is formed in a bounding box and then foamed. The last step is to add the surfaces as a final coat to the component.
104
Step 1
Shaping and hanging
2
Foaming
3
Surfaces addition
Materials
Comments
This method the inner structure pattern is created and shaped first. The industrial felt sheets creates the inner structure, which is filled with plastic tubes and hanged in the bounding box for foaming.
The plastic tubes used for shaping are being used as an extension for the foaming straw since the foam does not flow in the tubes with the gravity as any other liquid.
The last step is to coat the fibres on the component. Surfaces are created by fibres using needles and then at-tached to the inner structure. 105
Design Development 07 || Fabrication process analysis
Method -2 In this method the felt sheets and fibers were combined all into one step by wet felting them together. It allowed for a higher control in thicknesses and reduced the need to felt on a three dimensional form which was too complicated thus ensuring the felt fibers and sheets fuse as one customized sheet.
106
Step 1
Surfaces addition
2
Shaping and hanging
3
Foaming
Materials
Comments
This method combines the inner structure pattern and the surfaces in one step. They are joined together by the use of wet felting technique. The industrial felt sheets creates the inner structure, however the surfaces are created by the felt fibres.
For shaping and hanging the component we used the bounding box, also plastic tubes were used to shape the curvature in the box. At least two tubes need to be next to each other to maintain the shape while foaming.
The plastic tubes used for shaping are being used as an extension for the foaming straw since the foam does not flow in the tubes with the gravity as any other liquid.
107
07 || Design Development Component Aggregation
Tube to tube connection point
Component Aggregation 01 Tube to tube connection studies Fibers Surfaces
Tube to tube connection point
Side view of the component
Front view of the component
Size: 40 cm X 40 cm Number of connection: 4 Using the foam casting technique we were able to create small prototypes of different kind of connection and interlocking of the tube patterns. These patterns could be joined together to form larger structures.
Tube to tube connection point
Stability Low
High
Strength Weak
108
Tube to tube connection point Strong
The connection between the two components was fabric flap that join the components together after shaping and foaming the components separately. It has been observed that this kind of connection is very weak and not stable.
109
07 || Design Development Component Aggregation
Component Aggregation 01 Partition wall proposal
110
111
07 || Design Development Component Aggregation
Component Aggregation 02 Interlocking tubes studies
Side view of the component
Front view of the component
Size: 40 cm X 40 cm Number of connection: 2 Using the foam casting technique we were able to create small prototypes of different kind of connection and interlocking of the tube patterns. These patterns could be joined together to form larger structures.
Stability Low
High
Strength Weak
112
Strong
Foaming Process | Front View
Foaming Process | Back View
113
Design Development 07 || Foam + Felt
Component Aggregation 02 In order to further experiment with interlocking tubes, this prototype was composed of two components of two different sizes and connected by the bundling of the tubes on top one another. By utilzing this method, the tube ends were easily hidden into the overall form thus creating what seems to be a continuous structure. The advantage to this technique also increased the strength at these bundling points since more tubes were connected together.
Tube to tube connection line
Fibers Surfaces
Interlocking tubes
Fibers Surfaces
Fibers Surfaces
114
Self-standing prototype
115 Surface addition
Design Development 07 || Foam + Felt
Column proposal A column was fabricated using four of the same components and were connected together in the same interlocking technique. A scaffolding of four 40*40 wooden boxes was used to shape and hang the components all at the same and mainting a continuity in the casting process.
Component
Foaming points Foaming points
Interlocking points
Bundling points
Fibrous surfaces
116 Fabrication process
Fiber surfaces for enclosures and differentiating trasnparency
Tube bundling to increase strength when connecting components
Tube-tube connection to emphasize depth in aggregation
Tube bifurcation to increase the base width of the column
117 End result
Design Development 07 || Physical Prototypes | Digital Simulation
To achieve more complex three dimensional forms, we then experimented with hanging the fabric patterns inside a wooden box or frame. A two dimnensional pattern of felt sheet was cut and hung within the boundaries of a wooden frame to inflate into a three dimensional form.
1.
The basic pattern
Pattern is hung in wooden frame
Final outcome & controlled thicknesses
Digital Simulation for the hanging experiments Phase 01
118
Phase 02
Phase 03
119
Design Development 07 || Physical Prototypes | Digital Simulation
In this experiment, the bounding box was used to not only hang the fabric but to shape it into a three dimensional form while using two components within the same box. Physical process: Basic two dimensional pattern
Felt fibers to connect both layers
Hanging fabric in wooden frame
Phase 02
Phase 03
Digital Simulation for the hanging experiments Phase 01
120
121
Design Development 07 || Multiple tube experiments
This experiment used separate tubes and were connected using felt fibers. The surfaces in this prototype were used separately to connect the tubular elements and create the enclosures at the same time. This technique however resulted in a weak connection between the discrete tubes. Yet differentiating tubes and surfaces in to different layers allowed for a higher level of flexibity in differentaiting the structural tubes and the soft surfaces.
Separate tubes
122
Formation of tubes
Connection with fibers
Top view
Front view
123
Design Development 07 || Multiple tube experiments
The next step was to use this approach in designing a small stool 1.
Design of two dimensional pattern
Assigning tube direction
Cutting voids for flexibility in shaping 124
2.
Injection of foam
125
Design Development 07 || Multiple tube experiments
Design analysis
126
1.
The tubes were connected at the legs for more strength. By combing (bundling) multiple tubes together, the overall leg is reinforced.
2.
The tubes at the legs also branch out to connect with adjacent legs. The whole pattern was a continous flow of tubes as to avoid any breaking when foaming
3.
As for the seating area another linear component was connected perpendicular to the stool structure to accommodate for the surfaces needed in that area.
127
Design Development 07 || Multiple tube experiments
1:1 Chair design
128 Front View
129 Back View
Design Development 07 || Multiple tube experiments
130
131
[ Robotic Fabrication ] The reserach also explored the potential of modern robotic technology in the making of innovative fabric architecture. As the next step, an ABB 120 robot was programmed to needle felt through fibers at different speeds creating a more accurate gradient of textures within a single sheet of felt wool.
- End effector design - Fabrication logic - Fabrication process
132
133
Robotic Fabrication 08 || End effector design- First edtion
Exploded diagram of the first generation end effector tool Needles: 6 Range: 6 cm
Connection to robot Main support
Case
Gear 24V Motor Motor Case
Safe gaurd Felting needles
134
1.
End effector assembly
2.
Attaching the end effector to the robot and upload the tool path
3.
Running the robot program
135
Robotic Fabrication 08 || Fabrication Logic
In order to create an accurate gradient of textures, the robot was programmed to change its speed and number of passes through the wool fibers.
Sample
Speed pattern
Number of overlaps
01
Fast, Slow, Fast
Low, High, Low
6, 2 , 6
02
Slow, Fast, Slow 2, 6, 2
03
Fast, Slow, Slow 6, 2, 2
136
1 , 2, 1
High, Low, High 2, 1, 2
High, Low, High 2, 1, 2
Felting needles move in a vertical motion through the wool fibers interlocking them into a solid sheet of felt fabric
Gradient pattern
Soft
Hard
Soft
Hard
Soft
Hard
Soft
Soft
Hard
137
Robotic Fabrication 08 || End effector design- Secound edtion
Exploded diagram of the seocnd generation end effector tool Needles: 28 Range: 6 cm
Connection to robot Main support
24V Relay switch connected to robot Case Gear 24V Motor Motor Case
Safe gaurd Felting needles (28)
138
Close up of second generation
139
Robotic Fabrication 08 || End effector design- Secound generation
The robot in this process was programmed to needle felt two layers of felt sheets together as well as create a gradient of textures of felt fibers. Ready-made felt sheets were introduced in order to reduce the time needed to achieve a similar thickness and stiffness from the raw fibers. In this way it was possible to further control the trasnparency between the thickest values of the felt sheets and the thinnest, most transparent fibers.
Sample
Speed pattern
Number of overlaps
01
Fast, Slow, Fast
Low, High, Low
6, 2 , 6
02
Slow, Fast, Slow 2, 6, 2
03
Fast, Slow, Slow 6, 2, 2
140
1 , 2, 1
High, Medium, Slow, Medium, High 6, 2, 1, 2, 6
High, Medium, Slow, Medium, High 6, 2, 1, 2, 6
Felting needles move in a vertical motion through the wool fibers interlocking them into a solid sheet of felt fabric
Gradient pattern
Soft
Soft
Hard
Medium
Hard
Soft
Medium
Soft
141 Soft
Medium
Hard
Medium
Soft
Robotic Fabrication 08 || End effector design- Second generation
In the second generation of the needle felting tool a layer of felt sheet was added to be felted along with the layer of fibers. This development allowed for a more accurate gradient in textures and thicknesses along the customized sheets. It also decreased the need to robotically needle felt the whole piece of felt. As such, an experiment was conducted to realize the difference between a robotically needle felted sheet and a manually wet felted sheet. The results proved that both processes took the same amount of time to complete the felting (3.5 hours). However, due to the tight range of the ABB120 the maximum width of a single felt sheet is less than 50*50cm and so wont be practical for mass production of architectural scale components. Unlike wet felting where the length of a single felt sheet can exceed 1.00m.
Second fibers coat
Upper fibers coat
Inner structure
Second fibers coat
Lower fibers coat
142
Robotic needle felting
Manual wet felting
Lower fibers coat
Inner structure made of industrial felt sheets
Uper fibers coat
Lower fibers coat
Robotics Felting
Upper fiber coat
Felted component
Wet felting the layers together
143
Robotic Fabrication 08 || End effector design- Third edtion
Exploded diagram of the end effector third generation Needles: 28 Range: 12 cm Connection to robot Main support
24V Relay switch connected to robot Case
Gear 24V Motor Motor Case
Extended mechanical shaft Safe gaurd Extended to press fibers in place while needle felting
Felting needles (28)
144
The safe gaurd was lowered to press the fibers and avoid their dragging along the base. Longer needles also needed a longer mechanical shaft and range to fully intersect with fibers and ensure their interlocking beyond the surface.
145
Robotic Fabrication 08 || Robotics needle felting development
The needle felting end effector was adjusted through out three different stages . The main constraints were felting time, speed and range which were adjusted along each development phase. To increase the efficiency of the tool design the main alterations included increasing the number of attached felting needles in order to felt larger patches of fibers at a faster pace. The depth range also increased along the different iterations as to ensure that the felting needles penetrate at a suitable distance without ruining the sponge base or hitting the wooden table underneath it.
146
Needle felting tool development
1st generation tool Needles: 6 Range: 6 cm
2nd generation tool Needles: 28 Range: 6 cm
3rd generation tool Needles: 28 Range: 12 cm
147
Robotic Fabrication 08 || Robotics needle felting development
Comparison between the different generations of the needle felting tool.
1st Generation tool
Depth By increasing the felting depth , the more fiber layers are interlocked together as opposed to the superficial felting taking place with shorter felting depths. 0.5
Speed The faster the robot passes through a portion of felt, the less felted it is as such produces softer felt sheets. The slower the robot is the more fibers are felted and interlocked as such produce harder felt sheets.
Speed : Slow
Intervals Intervals
Overstep Overlapping of needle felting increases when the overstep decreases. As the overstep decreases the more felting occurs on the same portion of felt thus creating harder textures .
01
02
03
04
Speed : Fast Intervals
Overstep = Needle felting diamter
01
02
1.5
04
Overstep = 1/2 Needle felting diamter
148 1.5
03
1.5
0.75
2nd Generation tool
3rd Generation tool
1.5
1.5
Speed : Slow Intervals
01
02
03
Overstep = Needle felting diamter
04
Speed : Fast Intervals
01
02
03
Overstep = 1/2 Needle felting diamter
04
Speed : Slow Intervals
01
02
03
Overstep = Needle felting diamter
04
Speed : Fast Intervals
01
02
03
04
Overstep = 1/2 Needle felting diamter
149 3.9
3.9
3.9
1.95
3.9
3.9
3.9
1.95
Robotic Fabrication 08 || Robotics needle felting development Robot: ABB120 Felting Time: 3.5 hours Size: 50 * 50cm Advantage: Efficient in creating a contiuous gradent of various textures amoung felt fibers.
150
151
[ Column Fabrication ] In order to conclude the overall fabrication process, a physical column was designed and fabricated at a 1:1 scale. The transition from a flat sheet to a three dimensional component based aggregation was demonstrated in this section. The gradual differentiation in thicknesses and textures was highlighted in this prototype to present the potential of felt fibers and sheets in the fabrication of scaled up architectural elements.
- Pattern design - Fabrication process - Design analysis
152
153
Column Fabrication 09 || Pattern Design
The first step in designing the column was to study different two dimensional patterns and their relation to each other in a multi-layer fashion by connecting them with the felt surfaces.
Pattern studies
154
Assigning components out of the pattern
Assigning surfaces within the pattern
155
Column Fabrication 09 || Fabrication Process
Box aggregation: Two 40*40 wooden boxes were aggregated on top of each other to create a frame for hanging the felt sheets and transform it into a three dimensional component.
Reference point: End-points
Box dimension: 40*40 cm
Reference point: Mid-points
Box dimension: 40*40 cm
Reference point: Mid-points
156
The mid-points of the frame were used as reference points to connect the sheet to these pull points. Half of the box was also used as a reference for the first component and where the second component will connect to it.
Pull points 3D sheet
Flat sheet 157
Column Fabrication 09 || Fabrication Process
Zoom in on lower half: By connecting the inner structure in parallel to each other, the prototype gained more strength due to the increase of the number of tubes at the these connection points. The surfaces then grew inbetween the embedded inner structure to define the enclosures.
Adjacent tubetube connection
Component 02
158
During the foaming process, both components were separated at the top in order to freely inject the expandable foam into each without affecting the shaping or form of each. After the process of foaming was complete, the hardened felted sheets were connected together using needle felting.
Foaming point 02 Foaming point 01
159
Column Fabrication 09 || Fabrication Process
160 Column fabrication - Side View
161 Final column design - Front View
Column Fabrication 09 || Design Analysis
This architectural element exhibited a combination of all the previously experimented design layers. The structural tubes were filled with expandable foam to create a selfstanding column. The felt surfaces were used to create enclosures and embed the inner tubular layer within it. These surfaces also extenuated the gradual differences in transparencies between the hard felt sheets and the porous felt fibers. In Section A of the column the tubes were concentrated and bundled to withstand the transtion of loads through the three dimensional structure. They also bifurcate to increase the width of the column’s capital for the easier flow of loads within the tubes. The base of the column (Section B) then transforms into a volumetric base of tubes and merged surfaces. The larger base thus absorbs the weight and loads increasing the overall stability of the structure.
Part A : Enclosed surface
Part B: Varying tube directions
Part C: Volumetric surface enclosures
Part D: Bundling of tubes for strength
162
Section A
Section B
163
[ Digital Design Process ] [ The logic and generation system ] Chair Design Process Column Design Process Wall Design Process Stairs Design Process Pavilion Design Process Architectural Space Design Process
164
165
Design Process | Chair Design Process I 10 || Digital Step One: The logic of pattern
From parallel lines to patterns
[ The process of generating patterns ]
Connection Points Line 1: Point 9 Line 2: Point 11 Line 3: Point 10 Line 4: Point 12 Line 5: Point 13 Line 6: Point 8 Line 7: Point 4
[ Prototype 1 ]
Connection Points
Connection Points
[ Prototype 5 ]
Connection Points
Line 1: Point 13 Line 2: Point 11 Line 3: Point 11 Line 4: Point 10 Line 5: Point 13 Line 6: Point 8 Line 7: Point 7
166
[ Prototype 2 ]
Line 1: Point 8 Line 2: Point 6 Line 3: Point 11 Line 4: Point 12 Line 5: Point 8 Line 6: Point 13 Line 7: Point 5
Line 1: Point 4 Line 2: Point 8 Line 3: Point 12 Line 4: Point 8 Line 5: Point 11 Line 6: Point 5 Line 7: Point 7
[ Prototype 6 ]
Connection Points
[ Prototype 3 ]
Line 1: Point 8 Line 2: Point 6 Line 3: Point 7 Line 4: Point 11 Line 5: Point 11 Line 6: Point 10 Line 7: Point 8
Connection Points Line 1: Point 13 Line 2: Point 5 Line 3: Point 4 Line 4: Point 7 Line 5: Point 4 Line 6: Point 6 Line 7: Point 5
Connection Points
[ Prototype 4 ]
Line 1: Point 11 Line 2: Point 6 Line 3: Point 8 Line 4: Point 5 Line 5: Point 13 Line 6: Point 7 Line 7: Point 9
[ Prototype 7 ]
Connection Points
[ Prototype 8 ]
Line 1: Point 11 Line 2: Point 10 Line 3: Point 13 Line 4: Point 13 Line 5: Point 10 Line 6: Point 6 Line 7: Point 7
167
Design Process | Chair Design Process I 10 || Digital Step Two: The method of hanging in bonding box
From 2D patterns to 3D models
In physical work flow, the specific points in 2D pattern were hung by using several bonding box. This work flow is simulated in digital design process by using spring system. Through customized control, the points which need to be hung are selected from 2D pattern, and the spring between these points and the points on the bonding box will shrink through this process. In this way, the process of hanging could be simulated precisely.
168
[ The process of hanging ] [1]
[2]
[3]
Hanging Progress = 0% Repelling Range = 0.0 Spring Stiffness = 0.2 Height = 0 cm
Hanging Progress = 15% Repelling Range = 30.0 Spring Stiffness = 0.2 Height = 40 cm
Hanging Progress = 30% Repelling Range = 60.0 Spring Stiffness = 0.2 Height = 70 cm
[4]
[5]
[6]
Hanging Progress = 60% Repelling Range = 120.0 Spring Stiffness = 0.2 Height = 90 cm
Hanging Progress = 85% Repelling Range = 170.0 Spring Stiffness = 0.2 Height = 90 cm
Hanging Progress = 100% Repelling Range = 200.0 Spring Stiffness = 0.2 Height = 90 cm
169
Design Process | Chair Design Process I 10 || Digital Step Three: Force analysis and optimization
Inner structure optimization
[ Back Load ]
[ Hand Load ]
[ Hand Load ]
[ Seat Load ]
[ Seat Load ]
[ Foot Support ]
[ Seat Load ]
The inner structure is the main part of the chair to bear the loads from users. This step focuses on force analysis. By analysing the specific areas where the force would be applied, the color on the lines of inner structure will be changed. Different colors represent different magnitude of loads applied on this chair. The more loads it should support, the thicker inner structure it will be. [ Deformation analysis] 170
[ The process of optimization ] [1]
Analysis Progress = 0% Maximum Deformation Value = 0.00 Average Deformation Value = 0.00
[2]
Analysis Progress = 50% Maximum Deformation Value = 10.17 Average Deformation Value = 1.38
[3]
[ The optimized inner structure ] Analysis Progress = 100% Maximum Deformation Value = 14.50 Average Deformation Value = 2.19
[0.00]
[15.00]
171
Digital Design Process | Chair Design Process I 10 || Step Four: Surface generation system
Generate the surface through inner structure [ The process of generating surfaces ] [1]
[2]
Growing Progress = 0% Repelling Range = 0.0 Restlength Ratio = 1.0 Restlength Magnification = 0.1 Surface Length = 0 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
[5]
[6]
Growing Progress = 80% Repelling Range = 100.0 Restlength Ratio = 2.0 Restlength Magnification = 2.0 Surface Length = 60 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
172
Growing Progress = 20% Repelling Range = 25.0 Restlength Ratio = 0.5 Restlength Magnification = 0.5 Surface Length = 15 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
Growing Progress =100% Repelling Range = 120.0 Restlength Ratio = 2.5 Restlength Magnification = 2.0 Surface Length = 75 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
[3]
[4]
Growing Progress = 40% Repelling Range = 50.0 Restlength Ratio = 1.0 Restlength Magnification = 1.0 Surface Length = 30 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
[7]
Growing Progress = 60% Repelling Range = 75.0 Restlength Ratio = 1.5 Restlength Magnification = 1.5 Surface Length = 45 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
[8]
Growing Progress = 100% Repelling Range = 120.0 Restlength Ratio = 2.5 Restlength Magnification = 2.0 Surface Length = 75 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 680
Growing Progress = 100% Repelling Range = 120.0 Restlength Ratio = 2.5 Restlength Magnification = 2.0 Surface Length = 75 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 680
173
Digital Design Process | Chair Design Process I 10 || Final outcomes
Different prototypes with same inner structure
[ Prototype 1 ] [ Perspective View ]
174
[ Prototype 4 ] [ Perspective View ]
[ Prototype 2 ] [ Perspective View ]
[ Prototype 3 ] [ Perspective View ]
[ Prototype 5 ] [ Perspective View ]
[ Prototype 6 ] [ Perspective View175 ]
Digital Design Process | Chair Design Process II 10 || From 2D patterns to 3D model
[ Basic patterns ]
[ The method of hanging ]
[ Bonding box for hanging ]
50cm
50cm
50cm
50cm
176
Using the same logic as shown before, this process first starts from 2D pattern. 2 same patterns were hung into 2 bonding boxes which are 50cm*50cm*50cm. The specific points on the 2D pattern were attacted on the edges and corners of bonding boxes, which created a shape of chair. After defining the inner structure of chair, the next step is to generate the surface onto the inner structure. By controlling different parameters, the outcomes would be various.
[ The outcomes of innerstructure ] [ Front View ]
[ Front View ]
[ Top View ]
[ Top View ]
[ Side View ]
[ Side View ]
177
Digital Design Process | Chair Design Process II 10 || From 2D patterns to 3D model
[ The method of generating surface ]
Growing Progress = 80% Repelling Range = 100.0 Restlength Ratio = 2.0 Restlength Magnification = 2.0
[ The outcome of chair with surface ]
Surface Length = 60 Nodes Magnification = 3 Generation Amount = 4 Merge Amount = 0
Growing Progress = 100% Repelling Range = 120.0 Restlength Ratio = 2.5 Restlength Magnification = 2.0
Growing Progress = 100% Repelling Range = 120.0 Restlength Ratio = 2.5 Restlength Magnification = 2.0
178
Surface Length = 75 Nodes Magnification = 3 Generation Amount = 4 Merge Amount = 760
Surface Length = 75 Nodes Magnification = 3 Generation Amount = 4 Merge Amount = 760
[ The final outcome ]
[ Backrest ]
[ Seating ]
[ Perspective View ]
[ Prototype 1 ]
[ Legs ]
179
Digital Design Process | Chair Design Process II 10 || Final outcomes
[ Prototype 2 ]
[ Perspective View ]
[ Front View ]
180
[ Back View ]
[ Prototype 3 ]
[ Perspective View ]
[ Front View ]
[ Back View ]
181
182
183
184
185
Digital Design Process | Column Design Process 10 || Pattern design & Hanging process [ Basic patterns]
[ Process of hanging the patterns]
[ Basic pattern 1 ]
[1]
[2]
Hanging Progress = 0%
Hanging P
Repelling Range = 0.0
Repelling
Spring Stiffness = 0.2
Spring Sti
Height = 0 cm
Height =
[ Basic pattern 1 ]
[ Bonding Box 1 ]
60cm
60cm Size: 60cm*60cm*60cm
186
[3]
[4]
Progress = 50%
Hanging Progress = 80%
Hanging Progress = 60%
g Range = 100.0
Repelling Range = 150.0
Repelling Range = 200.0
iffness = 0.2
Spring Stiffness = 0.2
Spring Stiffness = 0.2
90 cm
Height = 250 cm
Height = 300 cm
187
Digital Design Process | Column Design Process 10 || Force Analysis & Surface generation System [ The process of force analysis ]
[1]
[2]
Analysis Progress = 0% Maximum Deformation Value = 0.0 Average Deformation Value = 0.00
188
Analysis Progress = 35% Maximum Deformation Value = 5.20 Average Deformation Value = 1.30
[4]
[3]
Analysis Progress = 70%
Analysis Progress = 100%
Maximum Deformation Value = 13.42
Maximum Deformation Value = 18.36
Average Deformation Value = 4.19
Average Deformation Value = 6.12
189
Digital Design Process | Column Design Process 10 || Force Analysis & Surface generation System [ The process of generating surfaces ]
[1]
[2]
Growing Progress = 0% Repelling Range = 0.0 Restlength Ratio = 1.2 Restlength Magnification = 0.1 Surface Length = 5 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
190
Growing Progress = 50% Repelling Range = 40.0 Restlength Ratio = 1.2 Restlength Magnification = 0.9 Surface Length = 60 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 0
[4]
[3]
Growing Progress = 100% Repelling Range = 80.0 Restlength Ratio = 1.2 Restlength Magnification = 1.8 Surface Length = 97 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 2835
Growing Progress = 100% Repelling Range = 120.0 Restlength Ratio = 1.2 Restlength Magnification = 2.0 Surface Length = 105 Nodes Magnification = 2 Generation Amount = 3 Merge Amount = 2835
191
Digital Design Process | Column Design Process 10 || Final Outcomes [ Prototype 1 ]
192
[ Prototype 1 ]
[ Front View ]
[ Back View ]
[ Prototype 2 ]
[ Prototype 2 ]
[ Front View ]
193
Digital Design Process | Column Design Process 10 || Final Outcomes
[ Detail 1 ]
[ Detail 2 ]
194
[ Prototype 3 ] [ Detail 3 ]
[ Front View ]
[ Detail 1 ]
[ Detail 2 ]
[ Prototype 3 ] [ Back View ]
[ Detail 3 ]
195
Digital Design Process | Wall Design Process 10 || From 2D patterns to 3D model
[ Step 1: Basic patterns ]
[ Step 2: Bonding box for hanging ]
30cm
60cm
60cm
60cm
[ Step 4: The outcome of inner structure as a component of
[ Front View ] 196
[ Back View ]
[ Side View ]
[ Top View ]
[ Step 3: The method of hanging ]
This process first starts from 2D pattern as a component of wall. The pattern was hung into 2 bonding boxes which are 60cm*60cm*30cm. Next step is to generate the surface onto the inner structure. By controlling different parameters, the outcomes would be various.
197
Digital Design Process | Wall Design Process 10 || From 2D patterns to 3D model [ Step 5: Various prototypes of components with same inner structure ]
198
[ Front View ] [ Prototype 1 ]
[ Front View ] [ Prototype 2 ]
[ Front View ] [ Prototype 3 ]
[ Front View ] [ Prototype 4 ]
[ Front View ] [ Prototype 5 ]
[ Front View ] [ Prototype 6 ]
[ Front View ] [ Prototype 7 ]
[ Front View ] [ Prototype 8 ]
[ Front View ] [ Prototype 9 ]
[ Step 6: The aggeregation of components ] [ Front View ]
[ Top View ]
[ Inner structure analysis [ A part of the wall ] 199
Digital Design Process | Wall Design Process 10 || From 2D patterns to 3D model
200
201
Digital Design Process | Stairs Design Process 10 || From 2D patterns to 3D model
[ Basic patterns ]
[ The method of hanging ]
[ Bonding box for hanging ]
60cm
60cm
202
60cm
60cm
[ The outcome of inner structure] This process first starts from 2D pattern as a component of stairs. The pattern was hung into 4 bonding boxes which are 60cm*60cm*60cm. Next step is to generate the surface onto the inner structure. By controlling different parameters, the outcomes would be various.
[ Top View ]
[ Side View ]
[ Front View ]
203
Digital Design Process | Stairs Design Process 10 || From 2D patterns to 3D model [ Final Outcome ]
[ Detail 1: Handrails ]
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[ Detail 2: Stairways ]
[ Detail 3: Stairways ]
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Digital Design Process | Stairs Design Process 10 || From 2D patterns to 3D model
[ Top View ]
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[ Perspective View ]
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Digital Design Process | Pavilion Design Process I 10 || From 2D patterns to 3D model
[ Basic patterns ]
[ Aggeregation of basic patterns ]
[ Bonding box for hanging ] 100cm 100cm 100cm 100cm
100cm
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100cm
100cm
100cm
[ The method of hanging ]
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Digital Design Process | Pavilion Design Process I 10 || From 2D patterns to 3D model [ Perspective View ]
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[ Top View ]
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Digital Design Process | Pavilion Design Process II 10 || From 2D patterns to 3D model [ Baskc pattern 1 ]
[ Basic pattern 2 ]
[ Bonding box for hanging ]
[ Bonding box for hanging ] 30cm
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60cm
[ The method of hanging ]
60cm
[ The method of hanging ]
60cm
60cm
60cm
60cm
60cm
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Digital Design Process | Pavilion Design Process II 10 || From 2D patterns to 3D model
[ Perspective View 1 ]
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[ Perspective View 2 ]
[ Perspective View 3 ]
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Digital Design Process | Pavilion Design Process II 10 || From 2D patterns to 3D model
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Design Process | Architectural Space Design Process 10 Digital From 2D patterns to 3D model [ Generation analysis ]
[ Outdoor activity fields ]
[ Step 1 ]
[ Step 2 ]
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[ Step 3 ]
[ Second floor ]
[ Stairs ]
[ Stairs ]
[ Entrance ]
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Digital Design Process | Pavilion Design Process II 10 || From 2D patterns to 3D model
[ Detail 1: Perspective View 1 ]
[ Side View ] 220
[ Detail 2: Perspective View 2 ]
[ Detail 3: Perspective View 3 ]
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Digital Design Process | Pavilion Design 10 || Final Design
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Digital Design Process | Pavilion Design 10 || Final Design
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Digital Design Process 10 || Architectural Space Design Process II
[ Site Analysis ]
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[ Marble Arch ]
[ Princess Diana Memorial Fountain ]
[ Wellington Arch ]
The site of the building is located at Hyde Park in London. It has a good geographical location for people to visit and enjoy leisure activities. Several landmarks are situated near the site, which promise the pedestrian flow and provide more possibilites for the design. This building is designed as a leisure center, in order to create a relaxed environment for visitors to enjoy the sunlight and have a sense of cale and tranquility.
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Digital Design Process 10 || Architectural Space Design Process II
[ Nosie Analysis ]
The material of the building, wool felt, has a property to avoid the noise. Visitors in this building would feel less noise, which enables them to focus more on the light, food and activities arround them. 232
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Digital Design Process 10 || Architectural Space Design Process II
[ Design Language ]
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[ Founction Analysis ]
Staircase First Floor
Ground Floor with Leisure Space
Platform
Auditorium Entrance of Auditorium
Cafe
Main Entrance
Second Floor
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Digital Design Process 10 || Architectural Space Design Process II
[ Section ]
[ Existing Building ]
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[ Ground Floor | Leisure Space ]
[ Sitting Staircase ]
[ First Floor ]
[ Auditorium]
[ Cafe ]
[ Second Floor ]
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Digital Design Process 10 || Architectural Space Design Process II
[ Main Elements | Details ] [ Elements I: FLoating Cube ]
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[ Elements II: Facade ]
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Digital Design Process 10 || Architectural Space Design Process II
[ Main Elements | Details ] [ Elements III: Staircase]
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[ Elements IV: Furniture ]
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Digital Design Process 10 || Architectural Space Design Process II
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Digital Design Process 10 || Architectural Space Design Process II
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Digital Design Process 10 || Architectural Space Design Process II
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Digital Design Process 10 || Architectural Space Design Process II
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Digital Design Process 10 || Architectural Space Design Process II
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Digital Design Process 10 || Architectural Space Design Process II
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University College London The Bartlett School of Architecture Research Cluster 6 2015-2016 MArch Architectural Design Hameda Janahi Minzi Jin Zuokai Huo Noura Mhied Supervised by: Daniel Widrig, Soomeen Hahm, Stefan Bassing, Igor Pantic
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