BPro RC6 2013/14_AUGMENTED SKIN

University College London

MArch Graduate Architectural Design The Bartlett School of Architecture 2013-14

AUGMENTED SKIN

Design Portfolio : YOUNGSEOK DOO MIYAMOTO KAZUSHI THEODORA MARIA MOUDATSOU

RC 6 .

Tutors Daniel Widrig Soomeen Hahm Stefan Bassing Report Tutor David Scott

Augmented Skin

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4

The Bartllet School of Architecture

2013-14

TABLE OF CONTENTS

__9

ABSTRACT

PART I /

INITIAL RESEARCH

__11

1.1

AUGMENTED SKIN CONCEPT

__12

1.2

AGGREGATION

__16

1.3

FABRICATION

__22

PART II /

DESIGN LANGUAGE

__25

2.1

STRAND - SKELETON

__27

2.2

MEMBRANE - SKIN

2.3

CASTING - FLESH

__33 __43

DESIGN EVOLUTION

__53

PART III/ 3.1 3.2

3.3

PART IV/ 4.1

4.2

PART V/

SKELETON - GLOBAL DISTRIBUTION SKIN - SURFACE DEFORMATION

__55 __79

3.2.1

Tension analysis

__85

3.2.2

Twisted Surface

__89 __99

FLESH

__113

PROTOTYPE

__115

SITTING OBJECT 4.1.1

Digital Exploration

__116

4.1.2

Fabrication Of Sitting Object

__122

GATE PROTOTYPE 4.2.1

Gate I

4.2.2

Gate II

DESIGN PROPOSAL

__133 __134 __137

__165 __168

5.1

INTRODUCTION TO THE SITE

5.2

APPLICATION OF DESIGN STRATEGY

__172

5.3

FINAL PROTOTYPE

__177

5.4

FINAL DESIGN PROPOSAL

__189

CONCLUSIONS

__205

Augmented Skin

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6

The Bartllet School of Architecture

2013-14

Augmented Skin

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8

ABSTRACT Augmented Skin project investigates the involvement between human body and architecture by initializing a dialogue among the fundamental elements of architecture and the human body. The fabrication process introduced, is based on the responsive behaviour between the solid the elastic and the mediator, inspired by the Bone the Skin and the Flesh of the human body. The project does not focus only on a material-wise analogy, instead the fabrication process explores new inhabitable properties through the contradicting aspects of its materialisation. The project aims for the proposal of inhabitable spaces inspired from the body in order to by embodied by it, as a recursive process, and seeks for the analogies based on the secrecy of human existence. A constant repetition of ‘infoldings’ and ‘outfoldings’, enclosure and reveal, formation and deformation takes place. The Augmented Skin refers to the materialization of these crucial limits and suggests inhabitable spaces where the inhabitant will be challenged to experience a phenomenological inhabitation of the flesh.

What is presence becomes abstract, what is permanent is also temporary, thus a reality that fits into the perception of the human existence as an osmotic limit of matters like time and life.

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10

PART

I

/

INITIAL RECEARCH CONCEPT

AGGRECATION FABRICATION

11

REFERENCES

The initial research about the fabrication of the Augmented Skin was based on casting techniques inside flexible moulds. More specifically, a system based on the properties of three different material parts and the negotiation among them was introduced. The conceptual language refers to the solid the elastic and the mediator, which for the purposes of the fabrication translate into wood skeleton components, elastic fabric or latex membranes and cement casting processes. Based on the high level of dependency among the materials, as well as the unpredictable behaviour of them, a form finding research is initialized. The three initially separated parts negotiate under the forces of tension and deformation in such a way, that every time they deform and form unique substances where the limits of them cannot be distinguish but equally exist.

The sticks components can be aggregated according to a designed structural or a random distribution. They constitute the skeleton of the system with the main purpose to provide stuctural support and point pressure.

The membrane

deformation reflects on its surface the negotiation with the constrains of it. It negotiates

between the abstract “out-side” and the specific “inside”. Demonstrating the dynamic relationship between what is inside and the external forces such as gravity.

The casting process is mediating between the vulnerable nature of the elastic mould and the constraining skeleton translating into a solid object the temporar moment of their inbetween interaction.

SOLID

1.

fig.1

fig. 1 In-Wall Creatures Marcos Cruz. 1998 fig.2

fig.2 Fabric-formed soft world Ernesto Neto. 2001

fig. 3 Folds, Bodies & Blobs Greg Lynn. 1998

fig.3

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2.

ELASTIC

fig.4

fig. 4 Aggregate Architectures Inst. for Computational Design(Prof.A.Menges) K. Dierichs. 2010 fig. 5 Aggregates 01 Architectural Association London E. Matsuda. 2004

fig.5

fig. 6 Desined Particles Aggregations 02 Rice University Houston GPA 01 Studio. 2004

fig.6

3.

MEDIATOR

fig.7

fig. 7 Concrete Chair T. Remy & R. Veenhuizen 2010 fig. 8 P_WALL MATSYS 2009

fig.8

fig. 9 Foam party M. Rigters 2012

fig.9

13

AUGMENTED SKIN Concept

1.

SOLID

2.

ELASTIC

3.

MEDIATOR

The Augmented Skin project concentrates on the establishment of a fabrication process. The conceptual language of the process is inspired by the human body. The skeleton the skin and the flesh are translated through the properties of the solid the elastic and the mediator. Their in-between interaction materialises the limits of the Grotesque skin and the formless form of the flesh. Spaces embodied with symbolism and phenomenological properties emerge.

The initial research about the fabrication of the Augmented Skin was based on casting techniques inside flexible moulds. More specifically, a system based on the properties of three different material parts and the negotiation among them was introduced. The conceptual language refers to the solid the elastic and the mediator, which for the purposes of the fabrication translate into wood skeleton components, elastic fabric or latex membranes and cement casting processes. Based on the high level of dependency among the materials, as well as the unpredictable behaviour of them, a form finding research is initialized. The three initially separated parts negotiate under the forces of tension and deformation in such a way, that every time they deform and form unique substances where the limits of them cannot be distinguish but equally exist.

Among the three parts of the system, Skin (Augmented Skin) stands out as the most characterizing limit. The limit between what is inside and what is outside, what hides underneath and what expellees outside as a form. The Augmented Skin relates to the Grotesque medieval Skin. The concept of the fabrication is based on the idea of a constrained skin as a porous limit, an osmotic area where all the three parts negotiate around the wider problematic about the dialectic of inside and outside.

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COMPONENT DEFORMATION Physical Experiment

Skeleton

Membrane

Casting

fig. 10

Stabilize

fig. 11

S K E L E T O N V A R I AT I O N S The basic skeleton component is a combination of three individual sticks with a 360 degrees angle rotation point. All the possible combinations of the position of the rotating point give 9 types off components. For every component there is one individual position in which the skeleton can be locked and be structural, in all the rest positions the skeleton is able to rotate and be flexible according to the demands of the system.

fig. 10 The three main ingredients of the system, membrane, sticks, and plaster in a continuous negotiation . fig. 11 Diagram, The components are kneaded in a double sense, first as individuals following their making process, but also between them, becoming inique match for each other.

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AGGREGATION

RESEARCH

Aggrecant Simulation

The individual components act as granules. Having a variety in scale and size they are all made by the same system (solid-soft-casting). So all the components can be together deformed and formed into new shapes.

The aggregation research for the system begins for the method of packing. Elastic membranes and soap films, circle packing and random packing aggregation are the initial references. The skeleton can be aggregated in a random emission-distribution (free aggregation), while the flexible membrane could be related with the packing aggregation of the common experiment of soap bubbles packing having a local constrain of the neighbour membranes and a global, that of the bounding box.

The second approach of aggregation research is to use dynamic simulations such as fluid and vortex simulation. The concept behind that is the fact that our component is based on a very simply logic and it could be aggregated in a infinite way. Further more the components are vulnerable to external parameters and forces witch the are able to reflect in a local as well as global level (small scale-big scale). Thus in order to express the properties of our system a packing geometrical aggregation is very limited. The vulnerable and dynamic nature of the system can be better expressed through dynamic simulation taking into consideration parameters and environmental facts.

fig. 12 Abstract Diagram of 3d puzzle agreegation

fig. 13 Simulation of Packing Aggrecation

fig. 12

16

frame 1

frame 16

frame 32

frame 48

frame 64

frame 80

fig. 13

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AGGREGATION Packing Method

18

RESEARCH

frame 50

frame 100

frame 150

frame 200

frame 250

frame 300

frame 50

frame 100

frame 150

frame 200

frame 250

frame 300

19

AGGREGATION

RESEARCH

Packing Method

During term 1 the aggregation research was based on the individual components according to the variation of their skeleton analogiesdimension, different sizes (scale) and finally different amount of material deposition inside them. For the design research we investigate all their possible combinations and scale variations from a small aggregated object to a bigger architectural scale.

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Aggregation of individual components

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FABRICATION OF COMPONENT Physical Experiment

The first step after the wood skeletons are wrapped around the fabric membrane is coating. The material used is latex paint. A thick layer a material is applied and then the components are left to dry. The time required for that is approximately 1-2 days

After the coating dries the membrane is waterproof but still flexible. Then we start casting them. For the casting we use a mix a plaster and black pigment. We inject the mixture through a small hole and the close it through stitching.

While the casting material is still liquid and the components soft we compress the them into a box.

The outer boundaries of the box, the pressure force as well as the gravity force act as external parameter that deform the components and form them into a unique combination.

Finally the skin is piled off to study more carefully the result. Each component is deformed into a unique form, reflecting the negotiation with the neighbour components the constrain of the skin and all the rest constraining forces. The output are unique deformed tiles.

For the prototype after assembling, the only force acting to the system and deforms it is gravity. The deformation is translated into unique connection between the components .This connection quarantees stuctural support. So the relationship could be descriped as: deformation

structural support

Since the prototype deformation is related to gravity it could be notices that along the height of the prototype: height

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structural support

Tights

Tights + Latex Paint

Plaster

Latex Paint

Plaster

+

+

+

Plaster

Black Color

Cement

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24

PART

II

/

DESIGN LANGUAGE

STRAND - SKELETON MEMBRANE - SKIN CASTING - FLESH

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26

STRAND - SKELETON

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CONCEPT OF SKELETON Strand Range Of Movement

In order to use the properties of the skeleton in a more efficient way a new distribution logic is introduced, the system of the strand. The skeleton components are placed along a strand and then wrapped all together inside elastic fabric moulds. With this way the skeleton components will be able create structural forms, without falling apart, while in the same time the system keeps all its properties regarding the deformation and interlocking ability.

The new individual components follow some main variables for their design. These variables such as the length and the number of the cross points express different functional demands along the strand. The length of the sticks is related to the deformation of the membrane as well as with the ability of the component to expand towards the space. The cross points offer stronger connection points and also the may allow to the strand to rotate. The next diagram is displaying the catalogue of the variation of the individual components according to their main variables. Questions like

‘

If the skin is constrained by the skeleton , and the skeleton covered under the skin where does the skeleton ends and where does the membrane begin’

emerge. The project tries to answer this by

introducing a design login where the skin and the skeleton are in a continuous dialogue deforming and forming together new abstract forms something in-between of skin and bone, a constrained flesh.

Twist

Twist

fig. 14 17th Century anatomists treated the body as a machine.

De Motu Animalium, Giovanni Alfonso Borelli, 1680-81.

Bend 28

Bend

fig. 14

Spatial Distribution

S t i c k Va r i a t i o n

Basic Components

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SPATIAL DISTRIBUTION

fig. 13

Inspired from the human anatomy the

In order to achieve that the distribution of the

components are distributed in such a way so

components along the strand is made according

as to guarantee apart from twist and bend

to the desired rotating points. There, in the

properties junctions and rotation points,

junctions, the small components are used

expressing a high transformable skeleton.

allowing to the sceleton rig in different angles and the big components , the bones, allow expansion and structural reinforcement.

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fig. 15

fig. 15 Diagram about the range of movement of the strands. fig. 16 Abstract diagram for the range of movement of the flexible Strands.

fig. 16

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32

MEMBRANE - SKIN

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SKIN COMPONENT Generation and Constrain of Skin

Expand

Extend

Inspired from the relationship between human and

The skin is related with the strands, so for the generation

architectural skin the projects looks into the image of the

of it the strands constitute the most crucial factor. The skin

m ed ieval sk i n as o n e o f a p o ro us and w e ek su r fa ce w it h

expands between the strands, as one layer or as a multilayer

countless openings and uncertain frontiers in which the

condition. According to the different position, dimension,

border between interior and exterior is exposed to processes

and distance of the strands the skin gets different

of metamorphosis and mutation. The skin components then

configurations. Finally the tension of the flexible surface

are constrained in two layers (skeleton constrain and skin

is the final factor which in compination with the stands

constrain through stitching). The constrained skin reflects

configuration is giving a wide variety fot the typologies of

the properties of the flexible character through its ability to

the skin components.

extend, bend, and twist.

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fig. 17 Image of bat wing

Fabric component pattern

Fabric component pattern

Fabric component pattern

Stiching constrain

Stiching constrain

Stiching constrain

Inside skeleton

Inside skeleton

Inside skeleton

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EXPANSION BETWEEN STRANDS

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CASTING - FLESH

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CLUSTER

CLUSTER DENSITY VARIATION

The distribution of the bone components of the strands is following their functional purposes.

When the density of them increases they form the cluster. According to the variation of their density they form big and small clusters.The cluster is one of the most strong parts of the skeleton able to bring together different bones and strands.

Therefore the cluster as a design language can express better the conceptual idea of the system about negotiation and interlocking behaviours.

CLUSTER CASTING VARIATION

Furthermore the cluster apart from a hight density moment of the bone components it is also characterised by the exessive presence of the flesh. According to the different amount of casting material, different deformations can be achieved. The matter of the flesh is is emphasizing the character of the mediator. It is mainly the flesh that will allow the negotiation with the neighbour bodys as well as with the existing landscape conditions.

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FABRICATING THE FLESH Pouring As A Making Process

fig. 18

fig. 19

Furthermore, the pouring of cement in the fabrication process of the Augmented Skin is the crucial factor that causes the emerge of the final form. The initially separated components deform and form unique interlocking relationships among them. However casting is what at the same time causes the dynamic of the negotiating behaviour of the system to stabilize. The three parts’ system is alive while all the parts of it interact, however the time of their interaction is equal to the time of the casting. After the cement has been solidified the system is no longer interacting is has been frozen. The time of its interaction relates to the time of the human life. The project suggests the proposal of a monumental time, the memory of what used to be alive.

The negotiating character of the system is emphasized by underlying the temporal moment of its creation into a monumental moment of its death. Therefore it could be said that for the project Pouring as a making process relates with the framework of material constrains, causes deformations and interlocking relationships as well as implies symbolic time. The poured concrete is kneaded with the membrane and the constrain skeleton under

fig. 20

the forces of gravity. Furthermore the components are kneaded in a double sense, first as individuals following their making process, but also between them, and eventually as a whole.

fig. 18 Patricia Piccini fig. 19 Roxy Paine.

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MEMBRANE

COATING

CASTING

Water

Plaster Concrete

Latex paint

Foamed concrete

PVA glue Latex

Fabric

Foam medium

Epoxy Resin

Foam hard

Foam soft

Pouring as a making process without the use of a framework, lacks geometric control and implies the creation of a formless form, with a fleshy effect as a result of the control of the material flow with hand gestures. The nature of pouring is explored, among others by the American Artist Roxy Paine, as 'a way to articulate formless and randomness as part of a new aesthetic ’. (Marcoz Cruz Phd p.301)

fig. 20 Prototype object: the contrained flesh mediates between two initally seperated strands.

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MATERIAL RECEARCH

fig. 21 Diagram about time between material deposition of the physical experiment. fig. 22 Physical experiment of material deposition inside the flexible moulds.

fig. 21

48

Physical experiment

fig. 22

49

Fabrication of the flesh in a variety of skin deformation according to material deposition. The skin of the proposal, the Augmented Skin, aims for an extremely constrained and thin skin. It attempts to emphasize the constrains of the skin and a system where the presence of the flesh will occur as consequence of its high dependence from the skin and the skeleton.

Therefore different configurations of the system result to different deformed bodies.

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PART

III

/

DESIGN EVOLUTION

SKELETON - GLOBAL DISTRIBUTION SKIN - SURFACE DEFORMATION FLESH

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DESIGN EVOLUTION SKELETON - GLOBAL DISTRIBUTION

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SKELETON DISTRIBUTION Force & Direction

Axis All

Axis Z

Axis -Z > X

Axis X > -Y > Z

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Growing Simulation

Tropisim direction allows to control the growing direction of elements and it generataes unexpected spcae deisgn. In addition, the simulation was operated with some parameters such as scale, size., rotation, and distance between sticks, which allows the manipulation of the density of sticks.

57

SKELETON DISTRIBUTION Force & Direction

Growing simulation are utilized to distribute stick comonents along the strand, and to fulfill the idea of aggregtaion of skeletons, which are wooden sticks, and to achieve unprecedented design. Via this simulation, the sticks can be dispersed and nested to observe how they react together, keeping their unique position and maintaining structural stability. Depending on the extent of tropism force, it grows toward certain direction and the density of components can be various.

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Tropism force 1 Spacing factor 100

fram 500

fram 1500

fram 3000

fram 5000

fram 7500

fram 10500

fram 500

fram 1500

fram 3000

fram 5000

fram 7500

fram 10500

fram 500

fram 1500

fram 3000

fram 5000

fram 7500

fram 10500

fram 500

fram 1500

fram 3000

fram 5000

fram 7500

fram 10500

Tropism force 100

Spacing factor 100

Tropism force 200 Spacing factor 100

Tropism force 350 Spacing factor 100

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SKELETON DISTRIBUTION Particle Spring System Diagram Of all possible connections

VARIABLES:

STICK TYPES:

Stick Size

A

Agents Behaviour

B

Connection between types

C

A gDei an gt r aAm

Simple scenario: Bridging a Gap

VARIAB

Agent B

fig. 23 Diagram 1 Of All Possible Connections

Stick Size

Agents Be

Connectio types

fig. 23

Agent C

Connection “C” - “A” Connection “C” - “B” Connection “B” - “A” Frame 1000

VARIABLES: Stick Size

Frame 2000

Frame 3000

Frame Connection “A” - “A” 4000

VARIABLES:

Connection “B” - “B” Connection “C” - “A”

D i a g r a mS T I C K T Y P E S : Simple scenario B rraimd g i n g a G a p D i: a g A

Agents Behaviour

B

Connection between different types

C

Simple scenario: Bridging a Gap

S T I C K T Y PV EASR

Stick Size

A

Stick

Agents Behaviour

B

Age

Connection between types

C

Con diffe

Frame 1000

S T I C K T Y VP A E SR : I A B L E S :

VARIABLES:

fig. 24 Diagram 2 Scenario of Bridging a Gap.

STICK TYP

Stick Size

A

Stick Size

A

Agents Behaviour

B

Agents Behaviour

B

Connection between types

C

Connection between different types

C

PES:

Agent a : Driving the system fig.24

Frame 300

1000 Stick typeFrame A : Main body of the stucture

Frame 600

Frame 1500

Frame 2000 Frame 3

Frame 2000

Agent a : Driving the system Frame 3000

Frame 5000 by a spring and Three Particle types.

[A]4000 is the ‘structural’ particles which areFrame connected Stick type A : Main body of the stucture

structurally optimised using dynamic relaxation. The next type [B] is the static ground plate particles which define the starting and ending point. Finally type [C] are the ancillary particles that move randomly around the space:When certain distance parameters are met, they create new particles and bind with a spring. Rules such as ‘only three connections can be had per particle’ are also introduced.

60

Frame 1000

Frame 2000 Frame 300

Frame 3000 Frame 6

Diagram Of all possible connections Agent B

Seeds - Components Types

Agent C

VARIABLES: Stick Size

Connection “C” - “A” Connection “C” - “B” Connection “B” - “A”

Connection “A” - “A”

Connection “B” - “B” Connection “C” - “A”

Type A

S T I C K T Y VP A E SR : I A B L E S :

A

A B C

Agents Behaviour

B

Agents Behaviour

Connection between types

C

Connection between different types

Frame 1000

S T I C K T YV PA E SR: I A B L E S :

ehaviour

on between

B

Agents Behaviour

B

C

Connection between different types

C

Diagram Simple scenario: Bridging a Gap Frame 2000 Frame 300

STICK TYPES:

Agent

fig.26

Frame 300060 Frame

Connection

Connection

Connection

Agent B

Agent C Frame 3000 Frame 600

Frame Frame 4000 15

Connection “C” - “A” Connection “C” - “B” Connection “B” - “A”

Agent a : Drivi

Connection “A” - “A”

Connection “B” - “B” Connection “C” - “A”

A

ents Behaviour Stick type A : Main body of the stucture nnection between erent types

Frame 2000 Frame 300

Connection Connection

A

k SizeAgent a : Driving the system

fig.25

Connection

Agent A

Frame 5000 R: I A B L E S :

Diagram Simple scenario: Bridging a Gap

STICK TYPES:

Stick Size

Frame 1000

Agent

Agent A

A

Diagram Type B Of all possible connections

Agent

STICK TYPES:

Stick Size

Diagram Of all possible connections

BLES:

Stick type A : M

B C

Type C Frame 2000 Frame 300

Agent B

Agent C Frame 3000600 Frame

Frame Frame 4000 1500

Frame 5000 Frame 2000

Connection “C” - “A” Connection “C” - “B” Connection “B” - “A”

PES:

Connection “A” - “A”

Connection “B” - “B” Connection “C” - “A”

Agent a : Driving the system Stick type A : Main body of the stucture

Type D Frame 3000 Frame 600

300

0 600

Diagram Simple scenario: B

Frame 4000 Frame 1500

Frame 5000 Frame 2000

Frame 250

Frame 2500

fig. 25 Simulation of Diagram 1 fig. 26 Simulation of Diagram 2

Frame Frame 4000 1500

Frame 5000 Frame 2000

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Frame 2500

GENERATION OF THE SKELETON Top View Density Analysis

fig.27

fig. 28

The system implements different behaving particles in a particle spring connection system for the formation of a structural skeleton for an installation. When certain distance parameters are met, they create new particles and bind with a spring.

This property of the system, creating new particles and connection is our reference to the Dla system an algorithm referring to the growth. So the generation of the skeleton is growing under certain parameters and with variation in the size and the length of it. The future step is about the extra (triangular) connections between the particles which will allow to the system to be self supported in the space. Finally static ground plate particles are necessary to be introduced into the system in order to define the installation’ s starting and ending point.Application of the properties of the Spring connectionDla system to the skeleton of the structure.

Different types of skeleton with different scenarios and density can be generated or all the variables could be combined in Α different points with different function demands of one skeleton.

fig. 29

fig. 27 Spatial distribution in the space-generation of open spaces. fig. 28 Spatial direction for the formation of the design of the structure.

fig. 30

fig. 29 Direction of design distribution allowing control for the variable of length density. fig. 30 Increase of density, clusters and structural optimization for the base of the structure and other functionally crucial points. fig. 31 Generation of volume, open space, space gap to covered by the membrane components.

fig. 31

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Skeleton Typologies

63

SKELETON DISTRIBUTION Spring System Based On DLA

fig.32

fig.33

64

Layer 1

Layer 5

Layer 2

Layer 6

Layer 3

Layer 7

Layer 4

Layer 8

Layer 1: offsetDir= (1, 0.5, 0)

Layer 7 : offsetDir6= n(1.5, 0.8, 0)

Layer 2: offsetDir1= (0.6, 0.5, 0)

if (newPv.x>-200 && newPv.y<10)

Layer 3: offsetDir2= (0.5, 1, 0)

if ( newPv.y>-100 && newPv.y<100)

Layer 4: offsetDir3= (1, 0.2, 0)

if (newQv.x>-200 && newQv.y<10)

Layer 5: offsetDir4= (1, 1, 0)

if ( newQv.y>-100 && newQv.y<100)

if (newKv.x>50 && newLv.x<300) if (newKv.y>-150 && newLv.y<100) Layer 6: offsetDir5= (0.6, 2, 0)

Layer 8:

offsetDir7= n (0.8, 0.5, 0)

i f (newRv.x>-200 && newRv.x<10)

if (newRv.y>-100 && newRv.y<100) 65

SKELETON DISTRIBUTION

Applying Physics to the system Applying Physics To The System

High Density Cluster

Low Density Cluster

Applying Physics to the syste

High Density Clus

Low Density Cluster

Applying Physics to the system

66

em

ter

Locked initial Seeds

Locked initial Seeds

m

67

GENERATION OF SPACE From The Distribution Of Points

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69

SKELETON DISTRIBUTION Design Translation

Generation of Skin between Strands

Main Strands

Generated Pattern

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71

DISTRIBUTION STRATEGY

The distribution strategy is developed, aiming to link the emerge of the skeleton with a terrain scenario.The parameters that can control the distribution such as directionality and density are used to translate the pattern according to spatial units and paths that connect them. The main parameters that relate the skeleton with the existing conditions of a site are high density distribution on the extreme landscape conditions, void spaces along preserved existing conditions , directionality along the line and view points as the target of the destination.

High Density Areas

Main Path

Repulers - Atrractors

Atrractors Low Impact Repulers

High Impact Repulers 72

Terrain

High Density - Pavillion Spaces

Repulsion - Existing Limitations

Branching - Anchor Points

Main Path - Connection - Strand

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SKELETON DISTRIBUTION Pattern Variation

fig. 34

The final simulation for the generation of the skeleton is a combination of the DLA algorithmic distribution and the flexible spring connection system with a particle based logic. So the particles are generated and grow according to DLA rules. However they are connected with spring connections among them. Therefore according to repulers and attractor as well as external forces, it is able to contol the direction, the density, the speed, t h e d e n s i t y, t h e n u m b e r o f t h e i r p o p u l a t i o n a n d t h e restLenght

74

of their connection. Furthermore some particles may be locked according to physics and cause the creation of clusters. The purpose of this case study of how to control the parameteres of the alorithmic system that we initialize is to link the properties with the depands of a terrain scenario and the generation of the flexible skeleton of our system along it.

fig. 35

fig. 34 Simulation of Dla-Spring Pattern generation 2D.

fig. 35 Simulation of Dla-Spring Pattern generation 3D, Variables : Directionality & Attraction.

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The distribution of the strands is achieved through a growing pattern simulation and factors such as repulers and attractors. In that way the continuous growing pattern is taking into consideration the surroundings and adjusts to them. Therefore the strands, the skeleton of the construction is generated from a negotiation process with its s u r r o u n d i n g s . Te n s i o n a n a l y s i s a n d d e f o r m a t i o n s t r a t e g i e s a r e t h e n applied in order to express the properties of adaptation and flexibility of the system. The project speculates about adaptation in extreme landscape conditions.

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78

DESIGN EVOLUTION SKIN - SURFACE DEFORMATION

79

SURFACE DEFORMATION Tension Analysis

Since tension is one of the main parameters of the skin, a case study to analyse it is developed based on the properties of a spring system. In this case study each surface is translated into spring line configurations which are able to deform according to attractors and repulers resulting to deformed surfaces able to perform structurally.

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81

SURFACE DEFORMATION Space Speculation

The semi open tubular spaces are mainly consisting

Finally in the fragmented open condition spaces of

out of strands. The strands determine the spine of the

the museum the idea of the skin is more dominant.

structure and the load of the weight in the junction

The skin is deformed, bended and twisted into a

points between the clusters. These spaces may host

multilayer condition of a deep surface. The surface

functions along them like exhibition spaces as well

reveals its layers and creates inhabitable vessels along

as most of the core functions of the building like

it where the visitor of the building can sit, walk and

the circulation, while they offer the opportunity to

watch the view.

the inhabitant to explore them as objects inside and outside of them, he can examine and relate with them.

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83

SURFACE DEFORMATION Spring System Analysis

fig.36

84

fig. 36 Surface deformation test Strand + Skin.

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SURFACE DEFORMATION Spring System Analysis

fig. 37

fig. 37- 38 Aiming for vertical surfaces that will be able to stand through their tension we examine different typologies of surfaces and their equilibrium moment after deformation.

As a conclusion the vertical surfaces that branch are the most stable typology.

86

fig. 38

fig. 39

fig. 39 The surface is affected from attractors and repulers. We examine the deformation of the surface while some of the lines have the ability to break and reconnect with others.

87

SURFACE DEFORMATION Twisted Surface

Design Strategy

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Design Experiment

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SW UR O CR EM A T I O N T I SFTAE CDE S D UE RFA Digital Exploration

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91

92

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94

95

96

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DESIGN EVOLUTION FLESH - PAVILION

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FLESH

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101

102

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PAVILION DEFORMATION Cluster Typologies

CONNECTING TEST This research is about how to connect each octadecagon pavilion unit which is more stable other shapes (Quadrangle and octagon), which simulated in Processing. The few points of three pavilions are joined due to joining each spaces, and then it is deformed by attractors which can alter rest length.

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105

PAVILION DEFORMATION Simulation Analysis

Repuler

Attractor A Attractor B

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Frame 50

Frame 100

Frame 150

Frame 200

Frame 250

Frame 300

Frame 350

Frame 400

Frame 450

Frame 500

Frame 550

Frame 600

Frame 50

Frame 100

Frame 150

Frame 200

Frame 250

Frame 300

Frame 350

Frame 400

Frame 450

Frame 500

Frame 550

Frame 600

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108

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110

Perspective Section

Top View

Section

Elevation

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112

PART

IV

/

PROTOTYPE

SITTING OBJECT GATE I GATE II EXTREME TENSION FURTHER DEVELOPMENT OF ASSEMBLY

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SITTING OBJECT DIGITAL EXPLORATION FABRICATION

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SITTING OBJECT Digital Exploration

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SITTING OBJECT Digital Exploration

The digital experiment of the sitting object refers mainly to the properties of Strand component. Seperated strands inflated with different materials like cement and e x p a n d i n g f o a m , r i g b e n d a n d t w i s t a m o n g t h e m i n o r d e r t o f o r m t h e c h a i r. T h e selection of material is according to the functional purpose they represent, cement for a solid and structural base, rigid expanding foam for the ligher parts of the chair like the arms and finally soft expanding foam for the sitting and back part.

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119

SITTING OBJECT Digital Exploration

Following the initial research of the design language the stick components of the skeleton are distributed is such a way so as to quarante flexibility and junction - rotation points for the strands. So in the base of the legs and the corner points of the sitting part and the arms of the chair there is higher density of small cross components, while the larger pieces, the bones of the stucture form the legs the arms etc. The skin is constrained from the point pressure of the skeleton and the final form is achieved when the stucture is casted. Then after deforming the seperated strands interlock and they form one unique, solid and structural sitting piece.

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121

SITTING OBJECT - FABRICATION Making Process Of The Prototype

fig.

fig. 40

The making process of the chair consists out of seven basic steps.

First of all the wood skeletons of the sticks components are made.

Then the flexible fabric moulds are filled with the wood components.

After that the elastic stands are placed inside the outer wood framework according to the design of the chair. After fixing their position into the frame a thick coating layer of PVA glue is applied.

When the coating gets dry (approximately one day) the casting process begins.

122

fig.41

fig. 40 Prototype: Top View, Frame importance

fig. 41 Prototype: Basic steps fig. 42 Prototype: Scale 1:20 fig. 42

After the material research and the experiments with the amount of material deposition we start making the chair by using a big wood frame box to become the bounding box of it, making sure for the legs to be straight. Then the flexible strands are placed inside the frame and they get coated with a thick layer of PVA glue.

The wood frame is the main constrain for the elastic moulds which their flexible properties they are able to bend, twist, rig and deform around it. As the last last step cement is used to cast inside them and express into a solid object their interaction. After the cement gets dry the outer wood frame is removed.

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124

The prototype of the sitting object was based on the idea of kneading individual strand components into the unique substance of a chair.

When the strand components knead among them they become unique matches for each other. According to their relationship the final form is achieved.

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PROTOTYPE FABRICATION Strands Rotation

One of the main tools used for the making process of the chair is the strand concept. Even though the skeleton of the structure is solid, the flexible membrane as well as the combination of the stick components along the strand allow them to rotate, bend and twist. The spatial distribution of the stick components follows functional purposes of junction and bridge points.

126

After the membrane - skeleton strands get dry, the membrane becomes waterproof but still flexible. Then is time for the final stage of the process, the casting. The casting material used is a mix of concrete and plaster which is gradually added inside the membrane moulds The amount of the material is one of the crucial factors that determine the deformation of the membrane.

127

PROTOTYPE FABRICATION Strands Interlocking

The amount of material deposition is connected with the deformation of the initial elastic mould. The deformation refers to the weight and the structural optimization of the crucial points such as the base of the chair , which is important to be strong and solid, or lightweight areas with an ornament character to the design of the chair like the arms of it. Apart from that, highly deformed areas represent strong connections between the different strand components. Taking the further into consideration we come to the conclusion that the deformation of the moulds will transform the initially homogeneous elastic strands into a new solid object with different areas stress points according to the demands of the structure, in this case, the chair. fig. 43 Sitting object fig. 43

1:1 scale

Taking that further into consideration we come to the conclusion that the deformation of the moulds will transform the initially homogeneous elastic strands into a new solid object with different areas stress points according to the demands of the structure, in this case, the chair. The initially separated parts of the different strands are connected by the third ingredient of the system, the casting process.

128

After casting and deformation of the soft membranes they interlock perfectly to each other. The combination of the components A+B+C is giving us the combination of ABC which is a unique perfect mach for each one.Thus the poured concrete is kneaded with the membrane and the constrain skeleton under the forces of gravity. Furthermore the components are kneaded in a double sense, first as individuals following their making process, but also between them, and eventually as a whole.

Side View

129

PROTOTYPE FABRICATION

fig. 44 Diagram about amount of deformation along the strands.

Side View

fig. 44

130

fig. 45 Diagram about the spatial distribution of lenght along the strands.

Front View

fig. 45

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GATE DIGITAL EXPLORATION FABRICATION

133

PROTOTYPE Gate I

fig. 46 GATE I physical model of the prototype scale 1:1.

fig.46

GATE I

The making process of GATE I is based on the connection of strand components on the floor,

and then they are pulled up to create an arch shape. The strand components connect after getting covered by

fabric. After the shape is

created, it can be coated and casted.

GATE II

The prototype of GATE II (part of a bigger unit)

aims for a bigger scale without the use of any

outer framework. The skeleton becomes also the scaffold for the structure as well as the reinforcement for the cement.

134

PROTOTYPE Gate I Î&#x2122;

fig. 47

The scaffold, the outer wood frame that was used in the prototype of the sitting object was a limitation for bigger scales. So in the next prototype, part of a bigger unit, we aimed for a bigger scale without the use of any outer framework.

The skeleton becomes also the scaffold for the structure that remains inside and also becomes the reinforcement for the cement. Finally the skin components are introduced between the strands with a gradual transition from the strand to the skin with variation in their pattern according to their configuration along the gate.

fig. 47 GATE II Digital design, The model is part of a bigger pavilion unit.

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136

PROTOTYPE GATE II Strands - Skin Components

137

PROTOTYPE GATE II Pattern Variation

The combination of the surface components and the flexible strands is based on the tensile deformation of the system. The pattern as well as the design of the skin conponents is a result of different tension forces according to the position and functional purposes of the components to the system.

fig. 47 Prototype Clading combination of Skin components.

fig. 48-49-50 Prototype Transition from strand to Skin and Pattern variation.

Front view

138

+

+

fig. 48

fig. 49

fig. 50

fig. 51

139

140

141

142

EXTREME TENSION

143

Utilization of High tension

The relationship between sticks and latex

01

02

03

Free standing by Tension Free standing by Tension 04

06 TENSION 05 BETWEEN SKELETONS AND MEMBRANES TENSION BETWEEN SKELETONS AND MEMBRANES

Latex has the probability of laser cutting, sewing and time saving because of the lack of covering glue on membrane. In addition, it can be simply glued and works within a few minutes. Even if it is stretched a lot, it sticks together.

144

3:5

4:5

To explore the use of tension, the relationship between the skeleton and the membrane was invertigated. It is shown that due to the different size of the latex with the related sizes of sticks, the extent of the degree is different becuase as the distance between the stick component and the latex pipe moves closer, it makes them tight and therefore unmovable.

This demonstrate a clear difference using tension according to the ratio of diameter of sticks and latex. Latex has various thickness from 0.2 ~ 3mm. While thinner, it is more stretchable, but the tension is low. In the case of using extreme tension, it focuses more one overall structural stability and on reducing material use.

L A T E X

Vulnerability

0.25 0.3

Tension

0.4

S

0.5 0.6 0.7 0.8 1.05 2 3 (mm)

A

Type A

A

Type A

A A

A A

Type B Type B

B B

A A Type C

C C

B

Type C

B

Latex Latex

120mm 1300mm

B B

B

120mm

B

1300mm

C C

C C

Latex Latex

C C

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UTILIZATION OF HIGH TENSION

Divided structure system

For more flexible installation, structure is divicied into two part, foundation and ready strands so that it is possible to assemble and disassemble. So, due to the seperated parts, both foundation and strands can be replaced easily in case of chaging length or design. With cast foundation, structure stands relying on the tension of latex.

foundation

146

strands

Step 1

Step 2

Erect foundation of structure

combine assembled strands with foundation

147

The casted natural latex strand 200 ø x 900

UTILIZATION OF HIGH TENSION Foundation Of Structure

148

03 03

150 mm 400 mm

02

02

180 mm

01 700 mm

Cast 01

01

200 mm

900 mm

120 mm

2000 mm

The length of latex was defined as 2/3 of the total length of the sticks. Only the bottom part is casted for foundation of structure so that it is stable enough to stand.

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MATERIAL PROPERTIES Thickness Variation

fig. 51

According to the thinckness of latex, when materials are poured into the same sizes of latex components, thinner latex deforms further compared to the others owing to the fact that the thicker the latex is , the higher tension will be. As the latex is thicker, it is more difficult to stretch than when using a thinnner sample.

fig. 51 Utilization of High tension Deformation Experiment - Thickness - 0.25mm - 0.5mm - 1.05mm - twist

fig. 52 0.25 mm thickness of natural latex.

fig. 53 0.5 mm thickness of natural latex.

Same amount of plaster was poured to see clear deformation difference depending on the thickness of latex.

150

fig. 52

fig. 53

151

MATERIAL PROPERTIES Latex constrains

fig. 54

fig. 54 Utilization of High tension Deformation Experiment - stitch - pinch

This experiment is to see how the material react depending on stitching, pinching, and twisting

Pinch

152

Stitch

153

154

FURTHER DEVELOPMENT OF ASSEMBLY

155

PROTOTYPE Further Development of Assembly

For more flexible installation, Different size of sticks to manipulate d i f f e r e n t s i z e s o f i t k c s us can their direction easily ands allow to be used to manipulate their make interesting assembly direction and to allow more variable aseembly.

Tension

156

Interlock

157

PROTOTYPE Further Development of Assembly

Bend > Intelock

stable strands

Foundation

W it h l at e x , f i rs t l y, b y b e n d i n g a n d twisting, the strand becomes more stable because of further interlocked sticks and the increased tension of latex. In terms of the skeleton inside of skins, crossed stick components w e r e d e s i g n e d f o r m o r e s t a b i l i t y, and these are placed between stable strands. For the bottom section, foundation segments of strands of strands and skins are cast for further stability and are nested to make foundation area completely robust and immovable. Thus, the whole stcuture is stabilized from bottom to top.

158

foundation

surface

foundation

interock

Surfaces

Surfaces

Skin

Strands

Strands

Strands

Foundatio

Foundation

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164

PART

V

/

DESIGN PROPOSAL SITE

APPLICATION OF DESIGN STRATEDY FINAL PROTOTYPE FINAL DESIGN

165

CONCEPT

The Concept of the design proposal refers to the application of the fabrication as an extreme building process initializing a dialogue among the fundamental elements of architecture and the human body. By extracting human anatomy moments from our design, the wall is tho ug ht as an e xte nsion of t he skin, T he supporting elements relate to the bones and the skeleton, and finally the binding process of casting is rather thought as the mediator for the expose of their relationship

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167

SITE Introduction To The Site

The design proposal refers to the design of a lanscape museum about the history and the dissaster of st francis Dan in San Francisco in 1946. The dam was a magastracture opposingto the natural elements of the landscape. The augmented skin building process is then usedin order to rather suggest an alternative meagastructure making process which rather refers to the fragmented nature of the destroyed dam and the holistic truth of a deep skin, a skin where the contrains, the reinforcement, the cement and the supporting skeleton are emphased individually and in the same time they are blended together unable to seperate they coexist and cause the emerge of the museum which as a stucture as well as its process of making is in relationship with the surrounding landscape and and remains of the the ruin.

Along the ruins of Saint Francis dam in San Francisco canyon a landscape museum about the dam and its collapse is purposed. The design logic of the flesh, the strand and the skin translate into different spatial conditions of the museum while the inhabitant of the building is in a continuous transition from enclosed, to semi open and open spaces.

fig. St. Francis Dam before and after it collapsed.

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169

SITE Existing Condition

170

The design proposal refers to the design of a lanscape museum about the history and the dissaster of st francis Dan in San Francisco in 1946. The dam was a magastracture opposing to the natural elements of the landscape. The augmented skin building process is then used in order to rather suggest an alternative meagastructure making process which rather refers to the fragmented nature of the destroyed dam and the holistic truth of a deep skin, a skin where the contrains, the reinforcement, the cement and the supporting skeleton are emphased individually and in the same time they are blended together unable to seperate they coexist and cause the emerge of the museum which as a stucture as well as its process of making is in relationship with the surrounding landscape and and remains of the the ruin.

171

DISTRIBUTION STRATEGY Application At The Site

St. Francis Dam Disaster Site

Main pattern parameters for translation

_Directionality

Initial Seed

_Branching

Translated pattern

172

Main Simulation Parameters According To The Sight

Type A

Type B

Type C

Type D

Type D

Type E

Type F

Type G

Type H

Type J

Type K

Type L

Section A

Section B

Section C

Section D

Section E

Section F

173

DISTRIBUTION STRATEGY Application At The Site

174

Distribution Of The Strands According To The Sight

Frame 200

Repuler

Translation of the pattern according to the main fuctions.

The distribution of the strands according to the site consider's as [-] Repulersthe vegetation, the main roads and parts of the remain ruins of the dum. [+] Attractor or angor points are mainly the demanding topography of the canyon the points that the stucture aims to attach onto, also the funtional program of the museum as well as parts of the remain ruins of the dum which the building wants to consider as parts of it.

Frame 600

Frame 1000

Attractor

main exhibition spaces

leisure spaces

175

176

FINAL PROTOTYPE DIGITAL EXPLORATION FABRICATION

177

SURFACE DIGITAL EXPLORATIONS Surface Components

178

179

SITTING OBJECT Digital Exploration

180

Skeleton Composition

Skeleton

Strand

Skin

Component

Possible Rotation Angles Of The Sitting Object

The final sitting object is based on the surface components design logic. A more complex system of the tensile stucture is introduced. The configuration of the main strands, supporting elements of the system, defines the expansion and the size of the skin elements between them.

The design of the final component is the equalibrium moment of the tensile forces among the elements of the system. After the component is generated, the aggregation of it defines the sitting object which is able to rotate along the axis x,y and z.

181

Digital Model

182

Physical Prototype

183

fig. 57

fig. 58

184

fig. 56

fig. 57

fig. 55 Prototype: Perspective View.

fig. 56 Prototype: Side View.

fig. 57-58 Digital Model.

185

Component

186

Digital Model

Component

187

Physical Prototype

188

FINAL DESIGN

189

LANDSCAPE MUSEUM Entrance

190

191

LANDSCAPE MUSEUM Inhabitable Walls

192

193

LANDSCAPE MUSEUM Inhabitable Walls

194

B

A

A B

Section A-A

Section B-B

195

196

197

LANDSCAPE MUSEUM Observation Area

198

199

Top View

200

Elevation

201

202

203

204

CONCLUSIONS Taking into consideration the perception and role of skin in different times, it could be said that the skin of the project aims for an extremely constrained and thin skin that relates with the properties of Medieval skin. This skin also acts as a unifier based on the perception of becoming the place where different processes meet together and negotiate. It is porous and grotesque, since the inside process of its matter is expressed on its surface to such an extent that the skin cannot be separated from its inside. It could rather been thought as the crucial limit of its flesh. The project does not focus on a material-wise analogy of its three part’s system with the skin the flesh and the bone of it. Instead the fabrication process explores new inhabitable properties through the contradicting aspects of its materialisation. The phenomenological inhabitation of the deformed bodies of the Augmented Skin prototypes, relies at their constant interaction, the extreme limits, the deformation, the osmotic surface of the skin, the constrained flesh, the interlocking behaviour, the perception about time between their interaction, what expels out and what remains hidden.

The design proposal materialises in different inhabitable conditions the idea of the negotiation that takes part on the limit. On the crucial limit of the skin a dramatic polarity between the dialectic of inside and outside is achieved. That is result of constant repetition of ‘infoldings’ and ‘outfoldings’, enclosure and reveal, formation and deformation The Augmented Skin refers to the materialization of these crucial limits therefore the inhabitant of the building is challenged for a phenomenological inhabitation of the flesh.

205

206

The Bartllet School of Architecture

2013-14

GAD The Bartlett School of Architecture 2013-14 University College London

Design Portfolio YOUNGSEOK DOO MIYAMOTO KAZUSHI THEODORA MARIA MOUDATSOU

RC 6 .

Tutors

Daniel Widrig Soomeen Hahm Stefan Bassing Report Tutor David Scott

Augmented Skin

207

The Bartllet School of Architecture

2013-14

Augmented Skin

RC 6 .

Design Portfolio YOUNGSEOK DOO MIYAMOTO KAZUSHI

THEODORA MARIA MOUDATSOU