2018 Sem 1 - Rohit Nair - 9736034

ROHIT NAIR 97386034

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CONTENTS

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TAMEDIA OFFICE BUILDING 8 WORLD ARCHITECTURE FESTVAL TRIANGULATION 16 FABRICATION 22 TESSELATION RULES 30 FABRICATION 34 DENSITY 36 ROTATION 38 TEETH 40 PROTOTYPING 42 FORM 44 PROTOTYPING 50 REFLECTION 52 LOCKING METHODOLGY 56 CURVES 58 LOCK SIZE EXPLORATION 62 ROTATION 64 TEETH SIZE 66 STANDARDISATION 68 MOULD ANALYSIS 70 CODING SYSTEM 72 CONSTRUCTION 74 MATERIAL 74 RESEARCH 74 MOULDING 76 HOT WIRING 78 FINAL FORM 80 PLANS SECTIONS 88

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PRECEDENT STUDIES

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TAMEDIA OFFICE BUILDING Shigeru Ban Zurich, 2013

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WORLD ARCHITECTURE FESTVAL Populous Architects 2015

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For the World Architecture Festival, the identity of the brand was formed by the ‘W’ in the design to create this exhibition display, drawing inspiration from the Eames’ House of Cards. An architectural structure was created out of 101 pieces of honeycomb card.

The structure uses precisely cut out ‘W’’s to build a n over- arching structure. Each piece is identical, but fits into each other in a unique way, producing a strong and bold pattern

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TRIANGULATION

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TRIANGULATION Grasshopper Trials

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Laser Cutting File Prepared

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FABRICATION Laser Cutting

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OBSERVATIONS - Need to take gravity into consideration when designing - Set a mininimum size for laser cutting - Assess capabilities of binding agent(glue)

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TESSELLATIONS

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TESSELATION RULES

In order to produce unique and visually impressive tessellations, we were advised to begin with simple and generic geometry and then begin removing fragments of these shapes to create the desired complexity in our tessellations. We needed to create rules that the tessellation must follow to reproduce the styles in the programming software. What was produced were styles that we were confident could be explored further and produce successful results.

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FABRICATION Laser Cutting

Once we had created a few tessellation styles that we were interested in pursuing further, we sent the files through to a laser cutter machine and reproduced the tessellations on some 2mm thick cardboard. Once we cut then rejoined the cardboard pieces we assessed which styles possessed good bonding characteristics and remained in place when shufed around the table.

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DENSITY

After creating a few variations of forms and styles, we discovered that certain pieces of the design will be subject to more stress loads and as a result, needed to be able to withstand these loads. Using programs like Rhino and Grasshopper, we were able to alter the density, rotation and teeth of pieces that we felt would require more strength to retain the structures integrity. Once experimenting we also manipulated the form so that it was also aesthetically pleasing.

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ROTATION

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TEETH

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PROTOTYPING 3d Printed Sample

Having created a few styles, we were confident with our 2D forms.

Wanting to produce our designs in 3D form, we began 3D printing.

We had initially pro- posed a wall structure and want- ed to assess its strength physical- ly. After the wall had been 3D printed and cleaned, what was apparent to us was that it was aesthetically a success. However, a slight problem was that the in- dividual pieces weren’t impressive in their bonding with one anoth- er as they were pulled apart when enough pulling force was applied.

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FORM

Tessellated Curvature

Once we were content with the 3D print, we began exper- imenting further with some possible forms.

We trialled some more wall type structures as well as a few tunnel forms. We then however decided on a pavilion style form that we felt would display our design most effectively.

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FORM

Curvature Variations

After agreeing on the general shape of the structure we wanted to create, we began manipulating the form slightly, experimenting with the opening’s size and width as well as a few other aspects of the form. We agreed on this form as it doesn’t have such a definitive interior and exterior as most of our other forms did and is more interactive with the audience as oppose to a simple tunnel.

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PROTOTYPING 3D Printed Model

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REFLECTION Feasibility Analysis

When discussing as to what real time material we should use to fabricate the design, we present few possibilities.

The use of a wire diamond cutter could potentially be used to produce this form to scale but due to cost and time restraints, this isn’t currently plausible. But if this were a real-life proj- ect, it would be a very viable option to consider. We could begin with a large slab of stone and produce the curvature of each separate piece’s form with concrete milling techniques. Once the stone has reached a satisfactory form, we would begin by implementing the use of a waterjet cutter. This would enable us to produce a very intricate and accurate representa- tion of our tessellation style.

After each individual piece has been successfully cut and produced, implementing a dowel joinery technique to connect the adjoining blocks with each other as a precautionary measure to prevent any potential injuries occurring.

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CURVED TESSELLATIONS

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LOCKING METHODOLGY

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CURVES

Inward Experimentation

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CURVES

Outward Experimentation

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LOCK SIZE EXPLORATION In & Out

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ROTATION In & Out

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TEETH SIZE In & Out

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STANDARDISATION ---

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MOULD ANALYSIS In & Out

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CODING SYSTEM In & Out

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CONSTRUCTION MATERIAL RESEARCH

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MOULDING In & Out

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HOT WIRING In & Out

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FINAL FORM 3D Printed Scale Model

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FINAL FORM Concepts

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PLANS SECTIONS ETC

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