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Bespoke Juxtaposition
by Ninad Pednekar
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Bespoke Juxtaposition
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CSA Research Report
Project Details Project Lead:
Ninad Pednekar
Design Participants:
Lucy Jones David Di Duca
Title:
Bespoke Juxtaposition
Type:
Public architectural installation
Location:
Well Chapel ruin, Bekesbourne 7km south of Canterbury.
Project Dates:
16 August - 17 August Structure installed on site. 18-24 August Show Build 25 August Structure open to public
Design Period:
2 June 2017 - 10 August 2017
Budget:
ÂŁ700
Scale:
2.6m x 0.7m x 2.0m
Support:
University for the Creative Arts
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Research Agenda and Process Overview This installation investigates the ways in which design can respond to the surfaces and spaces of old structures or objects, and derive new forms of interaction from what already exists. It demonstrates a design methodology incorporating digital tools and fabrication to connect the body of old structures and new forms. I have tried to achieve this by developing a distinctive design system to repurpose old abandoned structures within temporary spatial interventions and to develop new uses to engage the public. The aim of the installation is to fit to the old structure without damaging or disturbing the existing state of the built fabric and to leave no trace of it once the installation is removed.
Research Questions 1.
What are the opportunities and limitations of mobile applications for architectural surveying and modelling of existing buildings?
2. Using these applications and methods, in conjunction with rapid fabrication and modular assembly techniques, what are the possibilities of democratizing design and construction?
Fig.01a Installation on Well Chapel ruin at Bekesbourn.
Research Statement
Significance and Contribution The idea is to explore, record and analyse the surface data of ruins using mobile applications for experimental intervention. To prototype this system, I have chosen to survey and create an intervention within an abandoned ruin with uneven remains of flint stone masonry. The intervention would preserve the original history of the ruins and maintain that connection of the past and the present. A modular system consisting of bespoke cast pieces that would slide perfectly over the ruin stones without altering or damaging the existing condition.
Methodologies 1.
Converting physical information of organic objects to 3 dimensional digital data and produce accurate 3D models around the existing architecture.
2. Comparing the data from the most advanced methods of analysing the ruin surfaces such as expensive laser scanners to the data obtained from cheap mobile tools. 3. Developing models using the 3D scanned data to produce bespoke pieces that would fit on the ruin. 4. Designing a spatial intervention on the walls of the ruins and enable people to connect to the past of the ruin. 5. Exploring rapid fabrication techniques to manufacture parts of the structure.
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Design Proposal The proposed installation is to create a space to sit and relax, through the construction of an intervention which connects to the walls of the existing ruins; a private chapel, later converted into a grain storage for a nearby farm. The installation will enable people to enjoy the surrounding landscape view. The design will be executed by means of simple tools like smartphone app 3D scanner and home 3D printing. The technology to capture 3D data through scanning and measuring has recently become
affordable for the domestic and amateur market, which uses augmented reality software without the need for additional hardware. This allows us to record the physical information of the outermost envelope of the structure or an object. By 3D scanning those points where the structure’s base would touch the ruin, bespoke and unique connectors will be designed. Once the base of the connectors are modelled, the rest of the structure can be assembled by inserting dowels on the connectors.
Key technological outcomes of proposal 1.
Since the walls of the ruin are uneven, identifying the exact location of the landing points on the structure will be challenging.
2. To keep the method easy and accessible, smartphone’s compass based spirit level (gyroscope), elevation marker and traditional setting out method will be implemented rather than expensive laser machine. 3. The manually-surveyed data and the laser machine-scanned data will be compared to demonstrate the accuracy and viability of affordable and pocketable tools.
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Proposal & Context
Design Research Context Field of Work
Work by others
West Alcove Mk.2 project by Christopher Brown is a sculptural intervention in a ruin at Newcastle. The intervention is about identifying the potential of the 3D scanning and digital fabrication process to make replicas of ruins. It challenges the traditional belief of authenticity of architectural reuse. The project consists of 1:1 replica of west side alcove of Lord Armstrong’s Banqueting Hall ruin.
One inspiration was Hilla Shamia’s wood casting; furniture combining cast aluminium and wood. Molten aluminium poured on the irregularly shaped trunk seeped into the gaps in its liquid form and formed a strong bond as it solidified. It preserved the natural surface of the wood as the molten aluminium flowed into the crevices of the trunk. The production method is different and does not require any traditional joineries as it uses casting to bond the two contrasting materials. The ability to take the shape of the negative part of the organic object was quiet astonishing.
Fig 01b
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Design Methodologies The design includes 14 landing points where the installation touches the ruin. Each of those points are to be 3D scanned and modelled to create a bespoke connectors. The challenge is to use simple and economic machinery to survey the site. The reference plane is demarcated with a pocketable tool called Elevation marker. It has built-in gyroscope that plumbs and then emits a horizontal laser beam. The marker is fixed on one point on the site in such a way that all landing points are covered by it. The landing point’s elevation difference is measure with a tape with reference to this laser beam. Each of these landing points are scanned with a mobile application based 3D scanner. To verify whether the collected data was reliable, a professional laser scanner was used to survey
the site. The laser scanner uses infrared signals and forms a point cloud data of the site. Since it is used for big scale survey, it did not provide dense points for smaller variations in rubble. On aligning the phone scanned models with their respective elevation, the laser scanner and the manually survey data were exact match. The phone scanned models contained even the tiny irregularities of the rubble. This allows to virtually model directly on the surface of the rubble. Each base connector will consist of unique design obtained from the negative shape of the rubble. All these connectors will be cast with water clear resin fitting bespoke that would transformed into aesthetic and emotional value by preservation of the natural form of the rubble.
Critical Design Elements 1.
Plotting the landing point’s co-ordinates in the x, y & z axis will be key to fabricate the design with accurate relative distances between the points.
2. The 3D scanned surface will be tricky to orient vertically and align with the true north when working with different scans together. 3. Sticks with flag will be kept on rubbles at the places of landing points, pointing the north and aligned vertically with the help of mobile phone compass and gyroscope respectively. 4. Choosing casting materials and mould preparation technique to produce 36 connectors in 30 days will be crucial.
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Process & Methods
Elevation Marker measurements
Perimeters to verifying the scale
3D site drawing made by levels measured with elevation marker
Overlap of phone software scanning and elevation marker measurment
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Phone scanned point A
Phone scanned point G
Phone scanned point C
Phone scanned point H
Laser scanning the site
Infrared based laser scanning
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Process & Methods
Laser scanned mesh
Mobile app scanned mesh
3D
Elevation difference method topography
Elevation difference method points
Laser scanned point cloud
Survey Analysis
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Prototyping and testing The aim has been to create a space using this system, on which people can sit and relax in the historic ruin and enjoy the mesmerising view. The connectors around the places where people would sit needed to withstand load. So connectors taking the load in the design needs to be modified. After the modification, the design consisted of three types of connectors; the bespoke base connectors, generic connector and heavy duty generic connectors. This heavy duty connector can hold double vertical & horizontal pine wood dowels for extra strength.
Generic heavy connector
The installation had 36 connectors. Of which 24 generic connectors were repetitive. A durable mould that can produce multiple casts without changing its shape or deteriorating with use. The CAD modelled connector was 3D printed and polished to use as a copying piece. Using two part injection mould inspired from industrial die casting technique, 24 such pieces were replicated from just two mounds. Liquid resin was injected from multiple inlets in the mould.
Testing the strength of heavy connector
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Prototyping & testing
04a 04g
3D printing bespoke connectors
04j 04d 3D printing of generic connector
Strength testing for 3D printed connectors:
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04k 04e
The 3D printed connectors are only useful for prototyping as it breaks even with the self-weight of the dowels. To make the connector usable for architectural applications, it should be made up of metal, fibre or hard plastic. 04c 04i
04l 04f
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Reference measurement of points
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Marking the landing points
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3D printed bespoke connectors testing on site for accuracy
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Prototyping & testing
Site prototyping To set out the structure on the site, the dowels required for the bottom part are to be measured and cut. As per the centreline plan and the elevation data, the dowels and connectors are assembled and the vertical heights are then corrected and marked. The assembly is removed and taken back to workshop for further amendment.
05d
05f
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Casting & fabrication
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Fabrication
Fabrication Techniques a. Reusable Mould making
plate with threaded bars. Silicone The design consists of 2 moulds mixture is poured till the brim of to produce 2 types of generic bottom box. connectors. Each mould will Inserting keys halfway inside the produce 13 pieces, requiring the silicone will allow the mould to mould to be very strong and not align accurately at the later stage. to lose its shape after few casts. After 12 hours of setting, the The designed connector is 3D printed which will act as a replicating piece. The first step is to create a 3D printed 3 part mould box consisting of base plate, bottom box and top box.
keys are removed and the top box is fastened to the assembly. Prepared silicone is poured again.
After setting the 3D printed box is removed and the mould is ready to cast. Silicone makes it possible to remove the multi armed shape The mould piece is held halfway of the mould piece because of its inside the bottom box and the flexibility, avoiding the need for 3 assembly is fastened to the base or 4 part mould.
3D printed 3 part mould box with mould piece
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Silicone poured inside assembled bottom box
Keys inserted halfway into silicone
Keys removed after setting
Top box attached to the bottom assembly
Pouring silicone in the top part
Set for 12 hrs
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Fabrication
The keys placed inside the mould during setting of silicone make it easy and accurate to align the 2 parts of the mould. These mould did not lose its shape even after casting 30 connector pieces.
Casting moulds
Prototyping with different types of resins
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Mixing resin and catalyst
Planks to hold the mould with equal pressure
Final casting rig that allows temperature controlled process
Cured generic connectors
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Fabrication
Increasing connector diameter by 1mm
Sanding pine wood dowels
Setting up dowels for taking to site
Countersinking connectors to drill screws
Marking the dowels
Unloading materials before assembling
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Marking the heights of dowels with tape for quick and easy installation on site
Test assembly
Bespoke piece
Test assembly
Test assembly
Site fabrication material list
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09a
Mould box diagrams 09d
Fig 02a
Fig 02b
09b
09e
09c
09f
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Control Systems There are few precautions that preheat the moulds for 15 mins makes the components of the before casting to reduce the structure work flawless. shrinkage of resin. For resin to reach thin and parts away from a. Mould making the pouring spot, overflow vents While designing the mould box, were cut out in the mould as the casting liquid injection spot shown in the figure 01a & 01b. was located in such a way that c. Curing & post curing the material could reach every Once the initial curing of resin part of the mould. For designing was completed, additional a mould for a pipe like connector heating was provided at 40 °c piece, the mould box was divided for 1 hour followed by 50 °c for in a way that it did not hinder another. After removal of pieces the removal of the piece from from the mould, they were kept the mould. Before pouring the in oven for 20 mins at 60 °c. silicone into the box, the two This ensured the pieces achieve parts of the box were sealed with maximum strength in very less clay to prevent leakages as the time. 3D printed box cannot be water tight. d. Scaling phone scanned b. Casting
models
The initial results of casting were soft and sticky as the working temperature for resin was 21 °c to 30 °c and the room temperature was lower. It is recommended to heat the room before casting. One of important step was to
4” glue sticks were stuck with clay vertically on the ruin at the points of landing of the structure. On scanning the points along with the known length of sticks made the scaling of scanned models easy.
Deformed casts when overflow vents not provided
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Occupation and Interaction The installation is located on a public footpath trail, which passes through Mount farm connecting Bekesbourne and nailbourne. It is also a popular route for walking tours in that area. The installation would act as a walker’s shelter where they can rest by enjoying the views of the farms. The ruin on which the installation intervenes was also originally built to be a part of a landscape to the manor house.
The installation has minimum aesthetical impact to the site by blending well within the landscape by carefully selecting materials such as transparent resin for connectors, slender pine dowels and raw canvas. There is no damage or physical modification to the existing built fabric of the ruin making the installation an interesting space to connect to the vista.
Review of Outcomes
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Review of Outcomes
Dissemination and Future Work The challenge was to use cheap and pocketable tools instead of expensive professional equipment to create architectural structures and elements. The 3D scanning software took the advantage of the smartphones sensors and chips such as gyroscopes, accelerometers and camera. With major phone manufacturers have offered their native support to augmented reality with inclusion of additional chipsets
and algorithms where device can combine motion tracking, camera scene capture and processing to allow high degree of accuracy in virtually interacting with real objects and surroundings. It will be huge opportunity for architectural tools to implement this technology and make complex tasks affordable and accessible to everyone. I would work with these tools and publish DIY instruction series of my ideas highlighting its potential.
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Materials and Suppliers List Dowels (from Wickes, www.wickes.co.uk) 10nos Light Hardwood Dowel Moulding 25 x 25 x 2400mm Dowels (from B&Q, Canterbury) 16nos Pine wood Dowel Moulding 25 x 25 x 2400mm Resin (from MB Fibreglass, www.mbfg.co.uk) 6kg Polycraft Opti-Cast 200 Water Clear Polyurethane Resin MDF (from UCA, Canterbury) 4nos 12mm x 1200mm x 2400mm MDF sheets 3D printing filament (from Amazon, www.amazon.co.uk) 1 x ICE PLA 2.85mm, 0.75kg clear filament Silicone (from UCA, Canterbury) 4kg Silicone Notcutt Xiameter RTV 3481 Finishing materials 2 x 400ml Hycote Clear Lacquer (Amazon seller) 3 x 400ml Plastic-kote Satin Red Spray paint (Wilko) 1 x 100ml Isopropanol spray (Ebay seller) 5 x 2000grit Wet & Dry Sanding paper (Ebay seller) 5 x 1000grit Wet & Dry Sanding paper (Ebay seller) 5 x 600grit Wet & Dry Sanding paper (Ebay seller) 1 x 237ml Novous Plastic polish set (Ebay seller) Casting miscellaneous 50nos 20ml disposable syringe (Amazon seller) 50nos wooden sticks (Poundland, Canterbury) 50nos disposable gloves (Boots, Canterbury) Weighing Scale (Amazon seller) Ambient thermemoter (Amazon seller)
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Appendix
Fabric (from UCA, Canterbury) 1.8m x 6m Artist Canvas Fabric Other sundries: 8nos 4mm x 1000mm threaded bars, Screwfix UK 4nos 8mm x 1000mm threaded bars, Screwfix UK 200nos Srews 3 x 20mm, Screwfix UK 10nos nuts 4mm, Screwfix, UK 10nos nuts 8mm, Screwfix, UK
Image Credits All figures are copyright the author unless noted as follows: Figure 01b: copyright to book: Int AR interventions adaptive reuse. 7, Art in context
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Credits MA Architecture Course Leader: Lucy Jones MA Architecture Design Tutor: David Di Duca UCA Wood workshop technician: Simone UCA Sculpture workshop technician: Simeon Oliver UCA digital technician: John Joe Brophy UCA architectural technician: Christopher Settle
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