2017 Portfolio

Peter Wildfeuer design

portfolio

2015­–2017

Lead Design Futurist Studio Bitonti wildfeuer.peter @gmail.com 917.993.4935

01 02 03 04

SCOLIOSIS BRACE 4–13

LEG COVER 14–21

CONDUCTVE POLYMER 22–31

META-MATERIAL 32–39

05 06 07

TRIBECA APT 40–47

S P A T I A L M A S S 48–57

CHRONOTOMY 58–67

01

SCOLIOSIS BRACE This project was done in collaboration with UNYQ and Intel. They wanted to come out with a new SLS printed scoliosis brace design that would fight against the stigma associated with wearing a medical device.

We improved upon their design, by utilizing all the opportunities additive manufacturing affords to create an appealing, lightweight and breathable solution.

S C O L I O S I S B RA C E

(UNYQ+INTEL)

The original brace design covered the entire torso, even though the majority of the applied force existed in a few select areas, depending on the spine’s curvature profile.

Cervical

Apex

Thoracic

Apex

Lumbar

The drawings above show a typical case of double curved scoliosis with two apexes, one at the lumbar section and one at the thoracic section of the spine.

6

Peter Wildfeuer

A typical Boston brace setup.

Our first step for redesigning the brace was to do a topology optimization, which involved mapping out the constraints and force input of the current brace design in order to place it through an FEA software.

7

S C O L I O S I S B RA C E

(UNYQ+INTEL )

The original brace design covered the entire torso, providing no room for relief or airflow and greatly increasing the cost of manufacturing. Therefore, we started our design process with a topology optimization.

Front View

Right View

Back View

Left View

0% 0% Reduction Reduction

30% 30%Reduction Reduction

45% 45%Reduction Reduction

The image above shows the raw output from the topology optimization, which gradually removes mass from the original design in order to optimize weight and strength.

8

60% Reduction

Peter Wildfeuer

Front View

Right View

Back View

45% Reduction + Lattice

60% Reduction + Lattice

Left View The raw output was modified, redesigned and then run through a second topology optimization to map a custom pattern around the brace.

45% Reduction

60% Reduction

9

S C O L I O S I S B RA C E

(UNYQ+INTEL )

The original topology optimization solved the weight and breath-ability issue; however it failed to address the closure system, which, for the current design, requires a second person to tighten the brace. Two design options were proposed to solve this issue.

DESIGN 01: Velcro Enclosure

Velcro Lap Joint (Top View)

The first design option includes the addition of a velcro lap joint at the anterior to allow the patient to per-tighten the brace and put it on without any help.

10

Peter Wildfeuer

DESIGN 02: Threaded Bindings

Threaded Bindings

The second design option replaces the typical nylon strap with a detachable threaded binding that was 3D printed into the brace, removing the need for additional hardware and giving the patient the ability to tighten his or her own brace while it is still being worn.

11

S C O L I O S I S B RA C E

(UNYQ+INTEL )

Due to its simplicity, reduction of manufacturing costs and time, the second was adopted. The design used SLS printed threading bindings to allow brace adjustment while wearing.

Patient 01

Patient 02

The image above shows how the original 3D printed designs for two different patients were transformed into drastically different forms through a simple procedural design approach. All remnants of standardized form were removed through generative design, creating two products optimized for two different users.

12

Peter Wildfeuer

A prototype of the second patient’s brace with threaded connections was acquired by the Cooper Hewitt Design Museum, for its permanent collection.

13

02

L E G C O V E R After the scoliosis brace, we worked on another project with UNYQ to design a new leg cover for female amputees.

Feedback from female customers indicated that the shape of their current leg cover designs were unappealing. The challenge here was to create an appealing leg cover design for female amputees that would fit all the hardware requirements for large scale SLS 3D printed manufacturing.

L E G C OV E R

(UNYQ)

Our goal was to first understand what makes a “beautiful� leg shape. A process for gathering quantitative data of a legs shape was created by measuring the medial, lateral, anterior and posterior profiles of each leg relative to a center line running up the tibia.

Anterior

Posterior

Lateral Condyle

Y

Gastrocnemius Muscles X

Peroneus Longus Tibulus Anterior

Tendon

Ankle

Tibius Center Line

The key muscle groups that determine the profile of the leg are illustrated above.These play the largest role in defining the inner (medial), front (anterior) and back (posterior) profiles.We measured the contour of these profiles relative to their position up the leg (from the ankle to the lateral condyle)

16

Medial

Peter Wildfeuer

Anterior Profile of Leg Type A: Distance from Tibius (rel units)

Medial Profile = Blue, Lateral Profile = Red 6.0 5.0

B

4.0 3.0 2.0

A

1.0

0

0.2

0.4

0.6

0.8

1.0

Location up the leg (0 = ankle, 1.0 = Condyle)

The diagram above shows how leg profiles were mapped out. “A” is the point at which the anterior profile becomes symmetric and “B” represents the asymmetry above point A. Our research showed that larger areas of asymmetry and a point of symmetry closer to 40% up the leg seem to be more appealing

17

L E G C OV E R

(UNYQ)

Once all the profile data from each model was collected, we used the prevalence of leg shots in google searches to rank the models and performed a Case StudyCase Study L E G C LOE V ER G C O V average.

ER weighted The surface design of the leg cover was focused on highC O N CC E POTNS C E P T S lighting the properties of the “ideal” leg shape.

ut

The Averaged Leg Shape The Averaged Leg Shape

On the right side, is a lateral image of the “perfect” leg generated from a weighted average of the data, some of which is shown on the left.

18

Peter Wildfeuer

Tilt = .01

Tilt = .03

Tilt = .05

Speed = .1

Speed = .3

Speed = .5

We articulated the leg geometry with a flow system that moved up and down the leg at different speeds and different vectors. As the speed and tilt increased, the geometry of the leg played less of a role in dictating the pattern.

19

L E G C OV E R

(UNYQ)

Once flow lines run across the idealized form, the design went through subtle adjustments to fit over standard prosthetics. Most covers require an unnatural amount of thickness around the ankle to fit, but by rotating the seam of the cover we were able to maintain our designs overall shape.

Lateral Elevation

Medial Elevation

Anterior Elevation

The final design, shown above, was a product of a weighted average, a flow line algorithm, and a rotated seam line.

20

Peter Wildfeuer

The diagram above shows the typical placement of the seam down the side of the cover vs our designs use of a flow lines as the seam.

21

03

CONDUCTIVE POLYMER This R&D project was done with Intel and was split into three parts. The first part focused on developing a flexible polymer that could be 3D printed, the second part focused on creating basic sensors from our polymer formulation and the third part focused on applying that formulation in a series of potential POCs.

C O N D U C T I V E P O L Y M E R

(INTEL)

The first phase of this project involved picking a base polymer and polymer additive to compound together. Once we explored potential polymer and additive choices, we had to find which combination would result in the most conductive polymer with the least stiffness.

Dispersion & Distribution of additive (white) in base polymer (black)

Bad distribution & dispersion

vs

Good distribution & bad dispersion

Bad distribution & good dispersion

vs

Good distribution & dispersion

In order to produce an effective compound we had to choose an additive and manufacturing process that would result in high levels of distribution and dispersion. Co-rotating twin screw extruders with flight heights and channel depths that decreased across the barrel were used to introduce the additive.

24

Peter Wildfeuer

BARREL PITCH

SCREW

HELIX ANGLE

FLIGHT WIDTH

CHANNEL DEPTH

FLIGHT CLEARANCE

Cross sectional images of silver nanowire additives showed bad dispersion

The reason effective compounding is so difficult is because molten polymers act as shear-thinning non-Newtonian fluids.Therefore as the shear force increases the viscosity decreases, making it easier for conductive additives to move freely and clump together.

25

C O N D U C T I V E P O L Y M E R

(INTEL)

After our compound was finalized, we had to find a way to print sensors effectively. Therefore, the second phase of the project involved two parts.

Developing printing hardware and testing basic sensor designs.

Custom designed mount

e3D Heat sink

e3D Thermo-resister e3D Volcano Heater

The additive we added to our base polymer made it much harder to print.While the base polymer could be printed at 210 C the polymer compound could only be printed at temperatures above 290 C.Therefore, we needed to mount a special nozzle, thermal chamber and direct drive on our 3d printer.

26

Peter Wildfeuer

Retrofitted extruder with custom mount (elevations)

CONDUCTIVE BAND

Conductive Band

DIELECTRIC BAND

Base Polymer

CONDUCTIVE BAND

Conductive Band

Sensors are designed in three bands: two conductive polymer bands sandwich a dielectric polymer of the chemical makeup

Our simple sensor was designed to measure either stretch or compression.We did this by adapting a simple plate capacitor design that sandwiched a layer of the base polymer between two conductive bands of our custom compound.

27

C O N D U C T I V E P O L Y M E R

(INTEL)

We designed two different apparatuses with arduinos to measure stretch and compression sensor outputs. We tested a variety of sensors with different infill percentages, nozzle diameters, layer heights and thicknesses, to see which print settings performed the best.

Leads Conductive Band Leads

Dielectric Band Conductive Band

30 â„Ś

Compression Test

Stress + Bending Test

Vfoil

Vsource

1 Mâ„Ś

Foil

Sensor

0g ... 100g

D =75 mm

V

print .01 sec

.10 sec

The stretch sensor tests measured resistance across the parallel circuit formed by the sandwich resistor design, while the compression sensor tests measured capacitance changes under pressure.

28

Peter Wildfeuer

LAYER HEIGHT INFILL % NOZZLE DIA THICKNESS

STRETCH

COMPRESSION

15%

30%

LAYER HEIGHT INFILL %

40%

NOZZLE DIA 50%

THICKNESS

STRETCH

BENDING COMPRESSION

Our sensor tests showed that with the right settings, our stretch sensors could pick up and differentiate weights down to 20 grams. Generally speaking, lower layer heights, narrower nozzles, 40% infill and15% smaller thicknesses performed the best.

30%

40%

29

C O N D U C T I V E P O L Y M E R

(INTEL)

Our sensors proved to work well as stretch sensors. Therefore, when we needed to find wearable applications for this new technology, we really focused on high strain situations.

The advantages of being able to 3d print these sensors is that we can generate a form fitting object that can vary parametrically across its shape.Therefore, in theory we can map out stretch forces across the body in high strain locations.

30

Peter Wildfeuer

We can measure the strain exerted on the knee under valgus forces during high contact sports, or map out how pressure is distributed across a swimmers head during laps.

31

04

META- MATERIAL This project was done in the beginning of 2016 as a collaboration with an Italian eyewear company called OXYDO. We chose to highlight the formal advantages of additive manufacturing by replacing the glass frame with a “meta material� generated computationally.

M E T A - M A T E R I A L.

(O X Y D O)

The first step for this project was to “pick� a material. We chose to base our material off of an interwoven form that took advantage of the additive manufacturing process.

The hatch is based off of two angles and a spacing that decreases over its length

Interwoven forms started with the formation of a hatch pattern based on two angles that would then undergo a transformation. In order to account for structure and density, the spacing between the pattern was varied.

34

Peter Wildfeuer

1.0

1.5

0.5

Curves are attracted to one another within a certain range, creating a web pattern

A simple network curves system with varying levels of strength was used to attract hatch lines together. The network curve process, along with the hatch pattern variations gave us a multitude of material options that were eventually layered on one another.

35

M E T A - M A T E R I A L.

(O X Y D O)

Precedent research revealed the delicate balance between structure and transparency in eyewear. The frames designs were eventually chosen to highlight the meta-materials role in replacing structure.

A large part of the OXYDO brand focused on highlighting structure over transparency.

A lot of the OXYDO collection emphasized structure over transparency. In order to retain that precedent, we felt the need to keep the lens presence minimal by designing structure around a simple primitive.

36

2.4

Lens Front E

Peter Wildfeuer

Plan View (mm) 112.6

2.4 4.6 2.3

Lens

3mm gap b/w lens&frame

132.6 2.4

2.4

Lens Front E 2.4 4.8 20.4

57.3

20.4

50.4

4.6 50.4 29.0

Plan View (mm)

4.9

Side E 4.8 8.2

16.7

4.8

2.4

8.2

26.3

112.6

132.6

Lens

3mm gap b/w lens&frame

4.6 2.3

Front Elevation (mm)

4.8 20.4

57.3

20.4

50.4

4.6 50.4

Lens Fron

29.0

4.9

Side E

Plan View (mm)

4.8

8.2

16.7

4.8

26.3

8.2

132.6

2.

Front Elevation (mm) 4.6

4.6

19.0

20.4

4.8

20.4

57.3

57.2

4.8

4.6

17.2 29.0

Lens

3mm gap b/w lens&frame

4.8

5.6

4.8

2.4

5.6 4.7

16.6 37.1

4.7 5.6

4.8

Side Ele

5.6

2.4

132.6

Front Elevation (mm)

For manufacturing reasons, the entirety of the product could not be 3D printed, so decisions about how to arrange the remaining structure and lenses had to be made. Above are some initial iterations.

37

M E T A - M A T E R I A L.

(O X Y D O)

The final product focused on using the meta material to suspend the frame in a webbing form that would hold the product together.

Top Bar Meta-material Lens Support Lens

Front Elevation

Top Bar Meta-material Lens Support

Lens

Side Elevation

The webbing holds a bar, which would normally connect the lenses in order to complete the structural frame of the glasses.

38

Peter Wildfeuer

The final design used a gold frame to highlight the black webbings role in suspending parts of the overall form.

39

04

TRIBECA PLAYROOM This project, done in the summer of 2015 for PRESENT Architecture in New York City, was an interior renovation of an apartment in Tribeca that required a “modern” playroom for two kids of 4 and 8.

T R I B E C A A P T.

( P R E S E N T A R C H I T E C T U R E)

The client requested a playroom with space for a small bed and plenty of storage. We decided to focus on making the storage in and of itself a framework for centering the bed as a refuge of calm in a room focused on play.

X

L

T-X-L

T

Vertical dimensions were more or less fixed, while horizontal dimensions were very much design variables with the relationships shown above

42

Peter Wildfeuer

2 - Concealed corner shelves

1 - Private shelves

3 - Fake drawer

4 - Fake closet

The images above show four different examples of playful storage designs that emphasized the nature of a playful refuge for children.

43

T R I B E C A A P T.

( P R E S E N T A R C H I T E C T U R E)

The last few iterations combined this use of hidden nooks and playful storage units to create an exciting and stimulating environment for a child’s imagination.

Above are some of the initial iterations for “hidden” storage integration.The goal was to find out how to incorporate our hidden storage studies in a way that did not take away from the room’s proportions.

44

Peter Wildfeuer

The built design did not include all of the hidden storage designs, but still focused on a balance between stable proportions and surprising details.

45

T R I B E C A A P T.

( P R E S E N T A R C H I T E C T U R E)

The final design of the playroom consisted of three parts, a desk, a nook and monkey bars. The desk and the nook were surrounded in hidden methods of storage.

05

07/17/2015

Playroom Ladder

04

07/17/2015

Playroom Millwork Revision 2

03

07/13/2015

Playroom Metalwork Drawings

02

07/10/2015

01

06/04/2015

NO.

Playroom Millwork Drawings Prelim Construction Set

04/03/2015

Condo Board Review

DATE

ISSUE

DWG. CONTENTS:

DATE: SCALE: DWG. BY: PROJECT NO.: DWG. NO.:

SHEET NO.: B-SCAN:

46

Peter Wildfeuer

The design placed the monkey bars in plain view of the entrance, while the desk and nook were hidden inside of the room.The renders and photos were done by Robert Deitchler, and the project began construction in 2015

47

05

SPATIAL MASS This studio project of a cooking college dormitory done under professor Kutan Ayata follows students through a three year program , in which , they gradually progress until they start selling their recipes to the people walking down from the Highline.

S PAT IA L MA S S The basic unit that underwent a series of aggregation strategies started off as a simple wall that was manipulated through pulling and squeezing to create a spatial mass that could be occupied. The site massing was developed using this same concept.

The basic unit was duplicated and merged with other units to form larger spatial masses for students at different points in their education

50

Peter Wildfeuer

1 2

3 1

2 4

1 Highline 2 Dining Booths 3 Cafe 4 Auditorium

51

S PAT IA L MA S S The 3rd Year Floor below provides each student with his/her own kitchen, bed and storage space, giving the student everything he needs to enter the professional world.

3rd Year Dorm Two Bedrooms One Bathroom One Desk Two Large Kitchens+Storage

52

Peter Wildfeuer

2

1

2

1

3rd Year Floor 1 Classrooms 2 Private Access Lounge Areas 3 Practice Kitchen 4 Laundry Room

53

S PAT IA L MA S S The 1st Year Floor is designed to provide students with more study space and closer connections. Units are formed to contain one large kitchen for every four students.

1st Year Dorm Four Bedrooms Two Bathrooms One Large Kitchen and 4 desks

54

Peter Wildfeuer

1

1

1st Year Floor 1 Classrooms 2 Private Access Lounge Areas 3 Practice Kitchen 4 Laundry Room

55

S PAT IA L MA S S This concept of an occupied object versus a occupied space was applied at the building scale as well. The public is given a chance to move through the building via a ramp surrounded by dining booths. At the base of the building are more shared student spaces like an auditorium.

56

Peter Wildfeuer

1st year floor

2nd year floor

3rd year floor 4

2

1

3

1 Dining Booths 2 Ramp to Highline 3 Auditorium 4 Conference Room

57

06

CHRONOTOMY This research studio project for an library/spiritual center was done with Rhea Gargullo under Cecil Balmond and Ezio Blasetti at the University of Pennsylvania. The objective of our project was to create a narrative that morphs and forms a larger organization based in a higher dimension that can be experienced through time.

C H R O N OT O MY Our project started with a through exploration of 4-D geometries. We designed a method for relaying information about a 4-D surface in3-D, through a process of contouring. We tried to contour many different functions, but ultimately we settled with a 4-D version of the hyperbolic paraboloid. We took contours of the function at two different places and at various w-values.

Y

z=5 dy

X

z=-2

z=-2 z=0

b1 b2

a1 a2 a1 - a2 > 0 [positive curvature]

z=5

Y

X

b1 - b2 > 0 [negative curvature]

The 3-D Contouring Process Y

dy

a a,b = thickness

Generating Thickness From Derivative

60

b

X

Peter Wildfeuer

Parallel Projection of 4-D Hyperbolic Paraboloid

61

B B

A

C H R O N OT O MY

A

B UN-NESTED

B

NESTED

A

20

40

60

80

100

120

140

160

180

200

Instead of offsetting the 4-D contour in the third dimension to give our projected surfaces thickness, we chose to offset the contour in the fourth dimension, so that once the contour is projected down into the third dimension its thickness varies.

-160 -140

-120

-100

-80

-60

-40

-20

Sections Along Path A

-200

-180

Sections Along Path B

The diagram above displays two different sectional sequences, the sequence changes as the 4-D object is contoured in different orientations, creating Path A and Path B.

62

A

B

Peter Wildfeuer

180

200

SECTIONS

PROJECTION

A

B

A

B

Path Forming Process

Path A and Path B were drawn across the site as a bridge, connecting the vacant lots.Their placement was generated through a path forming process that contoured a single section.

63

C H R O N OT O MY By choosing not to array our contours along a straight path and by doubling the paths, we created a series of intersections and overlapping moments.

These overlapping moments create boundary conditions that allow for a variety of programs, including a central religious space at the nested center of one of the paths.

C

C

B

B

A

A

Plan A

Plan B

The upper plan show how smaller more private spaces are formed through the intersections to create research areas and outdoor paths. The lower plan contains more stacks, conference rooms and circulation spaces for large occupancy.

64

Peter Wildfeuer

A B

Sections A

A B

Sections B

A B

Sections C

The sections shown above illustrate how the smaller areas on the upper levels and the larger lower spaces sandwich dense areas in the center that form spiritual centers for self reflection.

65

C H R O N OT O MY The whole idea of our project was to translate information of a higher dimensional object into a series of temporal experiences. Turning contours and instances of an object into moments associated with feelings.

1

5 3

2

5

4 4

3

5 5

4 4

3 3

2

1 Stacks+Classrooms 2 Stacks+Circulation 3 Spiritual Centers 4 Residential 5 Outdoor Pathways

66

1

Peter Wildfeuer

Central Circulation/Stacks (Lower Level)

Central Spiritual Space (mid level)

67

PHONE: 917-993-4935 EMAIL: wildfeuer.peter@gmail.com

Peter Wildfeuer

1803 Atlantic Avenue Brooklyn, NY 11233

Skills: Proficient in:

Rhinoceros, Maya, Revit, Auto-CAD, Simulation Mechanical, Inventor, Fusion360, Grasshopper, Python, Ja-

vascript, Matlab, Adobe Suite, Maxwell, V-Ray and Keyshot

Design Experience: Lead Design Futurist at Studio Bitonti

2015-Present

[Brooklyn, NY]

Oversaw projects related to emerging manufacturing technologies Led research and proof of concept design projects for large clients Managed product development for start-up clients

Adjunct Professor at Rensselaer Polytechnic Institute

[Troy, NY]

2016

Taught a studio on the application of biomanufacturing techniques in design Guided the construction of a large mycelium paste 3D printer.

Architectural Intern at PRESENT ARCHITECTURE

[New York City, NY]

2015

Designed plans and interiors for contractor and client approval Drafted millwork and construction details for project interiors Sourced/researched materials and products for project construction

Architectural Intern at Avinash K. Malholtra Architects

[New York City, NY]

2014

Designed diagrams/massings used to explain concepts and organizational strategies to clients Assisted with the translation of Design Development detail and plan drawings.

Related Experience: Physics Research, Johns Hopkins University

[Baltimore, MD]

2009–2011

Designed and Tested various methods for increasing the grain size of thin Aluminum Films under Professor Nina Markovic Presented results and findings to our lab team of doctoral candidates and professors once a month.

Education: Johns Hopkins University [Baltimore, MD]:

2007 - 2011

Bachelor of Science in Physics [3.25 GPA]

University of Pennsylvania [Philadelphia, PA]: Masters in Architecture [3.50 GPA]

Awards & Honors: MD&M Conference Speaker 2017 D.R.E.A.M Academy Guest Workshop Instructor 2017 Third Place in the T.C. Chan Center Competition 2013 REU (Research Experience Undergraduate) Award for 2009 and 2010

2012 - 2015

PETER WILDFEUER University of Pennsylvania 2015 917-993-4935 wildfeuer.peter@gmail.com