RYAN STUCKA digital fabrication + physical modeling 720.878.7211 ryanstucka@gmail.com issuu.com/ryanstucka
MODELING BREADTH
hand // razor blade // scissors // CNC router //electric saw // handheld plasma // la paper // wood // concrete // steel // acrylic // chipboard // cardboard // acetate //
MODULAR NOT MONOTONOUS
PAST-TENSEgrity
DESCRIPTIVE GEOMETRY
COLLAPSIBLE CR
OVER + OUT
INTERSTITIAL EDUCATION
HIGH-WAY
SYNCLASTY
asercutter // oxy-acetelyne welder // CNC plasma // vaccum form // break // ironworker // 3d printer PET // baloon // mylar // fishing line // bristol // mesh // plaster
RADLE
TECTONIC DIALECTICS
SHELTER // SUPPORT
BLOCK LOFTING
A SOFT CENTER
1,2,3 WAY!
SONORAN PENTAPUS
SHELTER // SUPPORT PARAMETRIC PAVILLION
ITERATION+DEVELOPMENT TUNNEL ONE MODULE ROTATION ONLY
SPRING 2014
SPIRAL C ONE MODIFIED MODULE ROTATION + CUTTING + HINGING
6 person group x 1 semester / CRIT jean luc cuisinier skills : RhinoCAM / CNC router / grasshopper + rhino / laser-assisted prototyping / parametric workflow / full scale design + testing + construction / personally : initial concept / Rhino modeling / CNC + lasercut files / construction jigs, drawings, conventions ABOUT
The driving concept for this project was the development of a module[s] and an organizing system that accommodates an interpretive pavilion which provides a diverse range of positions suitable to most. By alternating modules [chair, bench, chair, bench], we developed a system where the larger components [chair / chaise] were held up by smaller components that were not always visible. Many people at the site of public exhibition in Tucson Mercado sat hesitantly at first, not understanding the stability inherent in the system only to realize it stable, comfortable, and still “a pretty strange bench”.
CHAIR
BENCH
CHAISE
TUNNEL MK01 56 FRAMES @ 3” OC 14’ LENGTH 6’ EFFECTIVE SEATING
SWITCHBACK MK07 360 PROFILES 15’ LENGTH 9’ EFFECTIVE SEATING
NESTOMATIC MK09 300 PROFILES 13’ LENGTH 13’+ EFFECTIVE SEATING
FINAL DESIGN + CONSTRUCTION PLAN[bw] + FOOTPRINT[color]
CNC SETUP _ RHINOCAM
CHAISE CHAISE 11 sheets CNC
CHAIR 7 sheets CNC
BENCH
CHAIR
BENCH 3 sheets TABLESAW+CHOPSAW
OVERALL
[versus 16 CNC sheets...] [no efficient nesting pattern] [identical module = easy manual fab]
ELEVATION - CHAIR
ELEVATION - CHAISE
SONORAN PENTAPUS STEEL GRIDSHELL - DESIGN BUILD PAVILLION 700gsf / 1200sf surface / 40,000 CAD budget
THE PEDIGREE MITTS
BROKEN HEART
NOSEBRELLA
BOOMERANG
WIDOW’S PEAK
MANTA RAY
RABBIT FACE
DONKEY
MANNHEIM FANGS
STEEP N DEEP
LARGE MOUTH BASS
BATMAN BEGINS
TOSTITOS
DORITOS
NINJA STAR
LOW LYFE
TUNNEL OF FUNNEL
BATMAN SPRAWLS
BATMAN NEVER ENDS
LICKATONGUE
WHALE TAIL
DADDY STRONG LEGS
CANKLES
CHASTITY BELT
SONORAN PENTAPUS
SWALLOWTAIL
SIDEBURNER
CURVES WHERE YOU WANT EM
SPRING 2015 DESIGN / FALL 2015-SUMMER 2017 BUILD 12 person group / CRIT chris trumble [reference] skills : grasshopper parametric modeling / construction strategies + feasability / group collaboration / shop drawings / physical-digital approximation / learning through physical modeling / presentation consulting experts / working with stakeholders personally : gridshell digital modeling techniques + morphological logic / final form / >90% of proposed iterations / digital modeling coordinator + synchronizer / primary construction planner ABOUT We [studio group] accepted an international grant for student design-build lightweight typologies, the current typology being gridshell. By using steel, instead of wood, and designing with budget and constructability in mind, we were able to save enough money to afford significant sitework, cladding, hard+soft scape, permanent furniture, and site infrastructure improvements. I opted to be the digital modeling coordinator and, throughout the course of the studio, became the official gridshell guy and worked to integrate everyone’s suggestions, complaints, etc, while developing more intuitive, more accurate, and more realistic digital modeling techniques. DISOBEDIENT STRUCTURES The most fascinating component of the project for me was the digital-to-physical transition from design to construction. We used physical modeling techniques [4 major varieties] to understand how this approximation could be best managed. I took on the role of digital modeling coordinator, which involved figuring out how to model various forms accurately, how to integrate physically and empirically derived logics into the digital abstraction, how to evaluate the accuracy of various methods, coordinating, combining, and synthesizing digital developments by others, and developing finite-element analysis models for our correspondence with a professional engineering firm.
DIGITAL FABRICATION CNC ROUTING To facilitate hand modeling of a gridshell based on a complex negative shape, the negative shape was CNCed out of low density foam. A cheap, quick option for accurately replicating the shape to produce a study model.
LASER CUTTING As above, digital fabrication was used to produce an accurate negative to aid physical modeling. In this case, I used a laser cutter because of the small scale and easy potential for efficient nesting. By nesting and cutting hollow rings instead of solid ellipses, I reduced material usage by 87% [1 sheet nested -v- 8 sheets solid]. CNC PROFILE CUTTING .040” acrylic is a difficult material to cut manually with a bandsaw, shear, or other tools. It chips and stress cracks when cutting very easily. CNC allowed quick production of higher quality pieces than hand cutting allowed. 2 passes per piece, fully cut out with no tabs, in under 2 minutes each. 3D PRINTING To save time in production of the final presentation model, our studio opted to 3D print. To fit in the print bed, the gridshell was subdivided into 7 pieces [6 semi-quadrants and 1 full quadrant] and then glued together. Laths [the skinnier elements] are 1/16” diameter and overlap perpendicular laths by 1/32”. CNC / LASER / 3D PRINTER / HAND CUTTING, VENEERING, PAINTING, ASSEMBLY Composite of many modeling techniques and a very effective design communication tool because of its complete resolution.
SONORAN PENTAPUS
ANALOG INTELLIGENCE
continued
getting all touchy feely and learning through physical modeling
TRANSLATING FROM SURFACE TO SUBSTANCE Typical gridshells begin as a bidirectional gridmat constructed flat [01] which is lifted into shape [02]. Because I needed to send engineers digital models, figure out how laths related to openings, and size the overall gridmat, I wanted to figure out how these initially equidistant bays would behave as they moved into their final place on the curved shell. By deforming prefabricated woven mesh over a laser-cut abstraction of our catenary field[03], I determined that the necessary gridmat is not a circle or an ellipse like our gridshell footprint, but rather a rounded square with convex edges [04]. Additionally, I found that laths, when viewed in plan, are roughly straight [05], and never deviate from plan straightness by more than the dimension of a bay [06]. One must avoid perspective + depth distortion [08+09] by photographing from as far away as reasonable. Since this abstraction is not a gravity based simulation, there is a substantial factor of inaccuracy, so I waited to see the results of our half scale model. My estimation of the erected laths’ planarity was confirmed by photographic analysis of the half scale model [07], where across many bays, 11 shown, laths are generally planar. What is important is the curvature, the tilt left or right is immaterial and merely an artifact of shooting without a tripod and not correcting this camera lean in post. This study used woven mesh for rigorous investigation, rather than the abstract formal approach other team members undertook early on. We, as a studio, had written woven mesh off as an informative tool until this undertaking and I was overjoyed to find a use for it as a modeling and learning tool.
[01]
[02]
[03]
[04]
[07]
THE CATENARY CURVE AND ITS IMPOSTERS This is the form that uniformly weighted non-rigid elements take when pinned at both ends [10]. This is the most efficient form for the parameters [nature always picks the easy way] and is subject to pure tension. When this form is inverted and constructed out of compression capable materials, the structure is subject to pure compression, and likewise, exhibits natural efficiency by reduction of shear and flexure [eg. St. Louis Arch]. It was recommended that we try plaster pours as a means of form finding - I was immediately resistant because of the variable stretch characteristics of fabric, and because deeper areas in the cast would receive more weight because they have more plaster on top of them, making the system non-uniformly weighted and, thus, non-catenary. Although thinner casts, far shallower than the tradition 2:1 width : height ratio of gridshells, could almost pass as catenary [11], deeper casts are clearly not [12+13]. For this reason, I fought against form-finding studies involving plaster and pursued and encouraged other techniques.
[10]
[05]
[06]
[08]
[09]
[11]
[12]
[13]
BYOB // BRING YOUR OWN BRAINS
simple solutions of mine for construction issues SITE REFERENCE / ZERO DATUM + AXIS,SUBAXIS At the beginning of construction, I suggested that we stake a site reference, a zero, accurately, and as I expected, this fundamental construction protocol for shop drawings, siting foundations, maintaining orientation and parallel-ness, etc. was invaluable -
SPACER BLOCKS We initially had a very hard time maintaining consistent lath spacing while still hitting an overall length across the grid mat. We were measuring each bay, but errors accumulated quickly. Small deviations were quickly becoming significant. I cut some 9.75” pieces of scrap 2x4 to put between our 0.25” laths so we could easily hit 10” O.C. without constantly measuring, and someone else improved my idea and made a 2-axis spacer by cutting 9.75” octagons, so that we could space 4 rods in two directions rather than 2 rods in only one direction.
VARIABLE POWER, LOCALLY SOURCED, GRAVITY CONTROLLED INTERTIAL CLAMPS / ROCKS After lifting the gridshell we needed a thrust restraint at the base to keep it from spreading apart [see 02 on left side]. Several complex ideas were thrown around, and I suggested we try something really simple first - the river rocks on site. It seemed to work well, others’ laughter quickly turned to enthusiasm, we moved rocks around like children in a sandbox, and very quickly had a good looking, consistently curved form.
PULLEY TOWER University regulations and the high cost of renting a small crane or scissor jack led me to design the pulley crane. By using the mechanical advantage of a snatch block and two rollers, a single person could lift our half scale gridshell halfway, and three people can lift it all the way. For the final, we plan to use this system with several more sets of pulleys. There was no need for permits and the whole thing was built in an afternoon using scrap materials from the shop. Highlighted is the hula hoop, a ring laid underneath the gridmat which is connected to the pulley crane. This allows distribution of force to many more laths to avoid permanent deformation of them.
MODULAR NOT MONOTONOUS MODULAR SCREEN WALL 25 modules / 24”wide x 17” tall x 6” deep FALL 2011 STUDIO solo project / CRIT mike kothke [reference] skills : iteration ad nauseaum / precise craft / spatial thinking / hi-fi + low-fi logic / hand drawing + diagramming / critical self-appraisal /
ABOUT The project was to develop 1 or 2 modules, beginning with a rectangle of bristol and cutting, scoring, folding, and slotting connections - all based off the proportions and measurements of a cactus. When they told us that, I nearly laughed. Then, barely a month into architecture school, I saw a trend that has frustrated me and made me laugh ever since: the explanation and rationalization of complex projects with their own logic, depth, and beauty through some disconnected, random, and meaningless factor or logic. Why do we need a cactus? Certainly constraints are a helpful tool in design, but this is a world of wide possibility and plenty or real constraints, and it seems foolish to impose needless limitations. I completed the proportional analysis, and sought to make it as simple as possible. What I applied more than proportion was the spirit of the cactus. [1]Regularity and rhythm - in the spacing of the spines and needles. [2]Mass and whiskers - in the thickness of the body and the thinness of the needles. [3]Smooth sultry curves - creating a curving structure with clear regularity was challenging but lead to a stable and elegant solution.
CRUSH ME IF YOU CAN
SYNCLASTY
FORM RESISTANT STRUCTURES 2 seperate projects SPRING 2014 + SPRING 2015 group projects / CRIT chris trumble + will peterson
Assemble cardboard frame
skills : tectonic + monolithic structrural logic/ welding / cnc plasma / laser cutting formwork / fabric forming / economizing material / designing in group SYNCLASTY - CONCRETE 100# weight limit. Tested [survived] by .7ton concrete block on overhead crane. Formwork had to be economical, elegant, and was judged more than the resulting cast. We knew that cardboard could support the 100# cast if oriented correctly, braced, and kept dry until the concrete began to harden. Everyone outside our group was sure our ultralight formwork would fail. It held, but we broke our 0.75� thick thinshell cast by mishandling it after removing it [pink lines on adjacent axon]. Because of the compressive system and lucky location of the breaks, we had a keystone system which still held the weight despite being in 4 pieces instead of one.
Fabric Form Liner
Attach formwork edge plates on fabric liner
123 WAY - STEEL 20# weight limit, crushed by pneumatic press. 3 iterations, final held 6x what first held [5,xxx lbs vs 8xx lbs]. Wanted to evoke dichotomy with the design, so we developed a visually light truss/spaceframe which cradled the press and transfered force to visually solid beams [yes those arches are curved beams that we welded] to translate the force to the table. Remove cast and formwork
LASERCUT CARBOARD FORMWORK
123 WAY