wisp
scott townsend
With the advent of current fabrication technologies and methods of architectural representation, rapid prototyping has evolved into an iterative design process that allows for constant feedback between all aspects of design. Prototyping has also specifically allowed designers to explore tectonic facets through an iterative physical process; a process that hybridizes both the digital and physical realms of representation. These technologies have also pushed designers to question the role of architecture and architects on the cusp of the twentieth-century that concern issues of place, difference and systematics, notation and geometry. The approach taken for the artifact design exercise was one of material systems and haptic exploration; an exploration of design emerging from the act of making. In an era of pervasive digital networking, where does the role of making lie in terms of representation and ground? A question that Malcolm McCulllough also raised, in the electronic age where people have grown accustomed to indirect, ad-hoc interaction mediated through networking, how does one find a grounding for societal activity and culture? The concept of 'digital ground' emerges as a space for design, giving architectural gestures a presence in a pervasive and nomadic, digitized culture. On a parallel note, the artifact exploration also touches upon the notion of discovering architecture as a rhythmic pattern; one that is embedded in every level of matter. Through the work of Reiser and Umemoto, design and discovery through making is also explored in terms of the guncotton analogy provided in their Atlas of Novel Tectonics. The use of an evolving physical diagram; the use of which is used to model, deploy and optimise dynamic, heterogeneous varieties, multi-scalar systems, gradients, fields and forces. The notion of the artifact grew from the idea of a basis; a ground in which to anchor the exploration of other fabrication strategies and material systems. In a sense, the base perhaps became the most prominent, iterative portion of the design. The concept was to achieve a certain fluidity, first explored through the notion of a gravity formwork, in tension through the use of fabric to achieve an organic pour. The base was to serve as a point of departure for the growing diagrammatical network of material explorations.
wisp
scott townsend
The first exploration was to test the concept of the organic landscape used to ground the physical networking diagram. A deep colour grout was used for the pour, over a washer-bolt anchor system constructed to help maintain the integrity of the tensile shape. The weight of the grout material deformed the tensile landscape that was imagined through the series of previous sketches, and the acrylic base provided a polished surface that proved an interesting juxtaposition of the sandy texture left by the fabric. Although this initial pour expressed the negative void of what was desired, the process was still valuable to help determine the characteristics of some early ideas.
wisp
scott townsend
At this point in the design, the opportunity was taken to explore the skin structure in contrast to the solid nature of the base construction. The concept was to produce a wisp network that deteriorated the diagram in the 'y' axis, levitating above fluidity of the base. Iterative settings and cuts were explored with the laser cutter, in an attempt to achieve a thin cut that would produce gentle fold lines used to undulate the skin. The idea was to play with certain opacities, as the skin would intertwine with an acrylic tower; a material that would detract from the could nature of the artifact's skin structure. The exploration itself took shape over the previous test pour in order to test the juxtaposing characteristics of the materials.
wisp
scott townsend
Further investigation of the base structure was done in conjunction with the creation of the mechanical fasteners. A physics exploration was used to investigate the tensile properties in Kangaroo for Grasshopper, a physics engine for the scripting process. Careful attention was to be paid to the generation of the mesh and its respective edges, for the physics engine was dependent upon these variables, as seen in the top right image. The concept was to relax a surface over particular circular edges that would serve as points of departure for the structure. Digital mesh generation was also necessary to explore CNC machining as a potential source of fabrication.
wisp
scott townsend
Digital modelling was further explored to generate the interior structure. The reciprocation of different digital platforms provides a very precise model that can be used advantageously to align varying materials and systems. With this exercise, the precision was used to generate the height and anchor positioning of the structure on top of the exact topology that was to be CNC routed, as well as develop the piles that would be later 3D fabricated. Here, the scripting process was also explored to generate the fidelity of the mesh that was to be fabricated with the CNC machine.
wisp
scott townsend
The machining process was a very iterative experience that tested the capabilities and drawbacks of this particular fabrication process. The triple axis characteristics kept from developing undercuts, and the material block was kept to below 3 inches to avoid collisions with the machine, determined by the length of the bit. The base was then digitally severed into three components. The third component, comprised of just the small peaks of the design were the most cumbersome for the machining process; bit size, machining speed and table positional were also careful considerations for the process. As shown in the lower portion of the image board, the peaks had to be rough cut from the plinth, and in one particular case, glued back as the quality of the MDF gave in from the pressure of the machine bit. As shown in the middle image, this occurred during the rough cut, so large portions of stock still remained on the peak. The entire base was then hand-sanded to create a smooth base; void of any visible tool paths in order to be prepped for vacuum molding.
wisp
scott townsend
Different materials were explored in the vacuum process, and multiple passes were necessary to test the machine and its capability to adhere to the form. The first passes with styrene proved very loose and produced natural ridges between the higher peaks of the base, but the ultimate goal was to achieve a pure acrylic base to help monitor the curing time of the material, as well as achieve a polished finish for the grout. An anchor system was then put in place for the positioning of the structure development.
wisp
scott townsend
Finally, the grout material was cast into the vacuum mold with the anchor system in place, the following images show the final result of the artifact and its particular design intentions.
wisp
scott townsend
wisp
scott townsend
wisp
scott townsend