William Marshall U n d e rg ra d u a t e Po r t fo l i o
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M u s e u m o f E x p l o r a t i o n a n d H u m a n I n t r i g u e : G e n ova M u s e u m o f C o l u m b i a n E xc h a n g e EndlessColumns: Va r i a b l e 3 D - p r i n te d C e r a m i c M o l d s f o r C a s t A r c h i te c t u r a l Elements M a te r i a l C o n v e r s a t i o n s : Te c t o n i c S t u d i e s Cur ves With Lines : R u l e d S u r fa c e s Shapes Car ving Shapes: B o o l e a n O p e ra t i o n s P l a n e S u r f a c e Vo l u m e : Pa p e r Fo l d i n g W h e re S k y M e e t s E a r t h : M o u n t a i n s i d e Pav i l i o n Fabrication: Ta i l o re d F i b e rg l a s s Chakrasana : Fo l d e d F i b e rg l a s s A rc h Tw e n t y C o n c e n t r i c C i r c l e s : C u r ve d C re a s e F i b e rg l a s s C ro s s ro a d s : G u e l p h M a r ke t H a l l Cantina on the Corso: Montepulciano Winer y Bodies in Formation: Flexible F ormwork and Digital Simulation Ra zing the Grain: P r i n t i n g B u r n e d Wo o d Tex t u re Dead 27’s: L aye re d S t e n c i l M u ra l R u l e d S u r fa c e S t a i r w e l l Installation C ybernetic Documentation : G ra p h i c R e c o rd i n g o f a C o nve r s a t i o n
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Museum of Exploration and Human Intrigue: G e n ova C o l u m b i a n E xc h a n g e Museum ARCH 3530 - Studio Genoa Fall 2018 Professor: Henrique Houayek Duration: 16 weeks In collaboration with Claire Hicks
Tasked with creating a Columbian Exchange Museum in the heart of Genova, Italy, our challenge was to find and expose the relevance of the event and communicate it to people today. We view the Columbian Exchange as a catalyst for a revolutionary way of thinking that is still very relevant today. For this reason, the museum focuses less on a single event and more on a shift of thought and pattern of human behavior. To do this, we designed the interior of the building to prompt the visitor to wander and experience the rawness of this human intrigue first hand. A field of closely spaced columns covers the entire footprint of the building. Suspended within this field are gallery floors, separated not by walls, but by level change—creating visual connection and physical separation. In order to open voids within this forest, ellipsoid shaped Booleans cut the columns forming the gallery spaces. Rotating exhibits in these galleries highlight areas of today’s avant-garde thinking in a variety of fields.
10 m Section D
Exploded systems diagram
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The galleries of the museum are organized in a stacked double loop around a large light well. This provokes the viewer to explore in order to discover the final experience of the central void. Once in the void, the viewer can clearly see the series of galleries that border the space and reflect on the journey taken.
10 m Section B
10 m Section A
10 m Section C
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Plan A
Plan B
Plan C
Plan D
Plan E
Plan F 10 m
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3D-printed reusable mold
Cast modular lighting / structural system
To bring natural light through to the interior forest, apertures cut through the precast modular roof system. Angled to catch softer northern light and cut to meet the column system at an elegant tangent, the geometry of the void was designed to favor cast fabrication with an easily removable and reusable mold. The entire modular system is able to be cast from one 3D-printed mold.
Cast modular lighting / structural system
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10 m Wall section / module geometry formation diagram
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Exterior perspective
Exterior circulation
Entry space
Interior lobby
Central lightwell
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EndlessColumns: Variable 3D-printed ceramic molds for cast architectural elements Summer 2018 Team: T. Shan Sutherland, William Marshall, Dave Lee Duration: 24 weeks Published in ACADIA 2018 Award: 2018 Autodesk ACADIA Emerging Research Award (Runner Up) Abstract This ongoing project examines the potential to utilize 3D-printed ceramic technologies to produce variable, positive-less molds for the production of architectural elements in cast metal. The research addresses the formal limits and fidelity issues of gel extrusion; computationally assesses the variable infidelities involved in the drying, vitrification, and casting process; and assesses the technical limits of cold mold, gravity-cast metal. The examples produced show the potential for this process to realize architecture which simultaneously achieves both structural gracility and ornamental complexity efficiently and with a constrained capacity for serial variability.
History Ceramic molds have been used for the past 5700 years for the production of bespoke metal objects. Though capable of achieving both scale and accuracy, traditional slip painted, ‘lost wax’ methods of ceramic shell casting are unsuitable for the mass production of architectural elements because of time and materials involved in destructed positive mold production. In comparison, cast metal elements were employed in many exquisite architectural works during the Art Nouveau and Neo-Gothic periods. These larger works used reusable green-sand (sand mixed with bituminous clay and water) as a mold medium and a durable, reusable wood positive. The method was adopted from the industrial arts of the day, and was suitable for serial production of single parts in the ornate yet repetitious style of the era.
01 Lattice system cast from 3D-printed ceramic molds
02 Two piece 3D-printed ceramic mold
03 Cast aluminum module
04 Module geometry
05 3D printer toolpath (white=mold, red=printed support)
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06 Change in moments of intertia at various cross sections of Column
07 3D-printed ceramic mold for Column
08 Molds are printed from one continuous line of clay using a Potterbot 3D Ceramic extruder
09 Pouring aluminum into 3D-printed ceramic mold
10 Material overhang analysis
11 Cross sectional chilling analysis
Materials and Methods Our technique represents a hybrid of green-sand and ceramic shell casting, which circumvents the need for a destructible or reusable positive. The use of a thin-shelled, 4 – 8 mm, printed ceramic void packed into a reusable, thermally resistant green-sand mold allows for a serial, efficient casting method with a capacity for the rapid production of unique or variable parts. The ceramic shells were printed using a Potterbot 3D Ceramic extruder and stoneware. The printer and media combination proved effective when printing simple cylindrical forms with low degrees of overhang and limited traversing. To overcome the process limitations, and to explore non-cylindrical formal typologies, we developed methods for modeling integrated support systems and controlled traverse paths (see diagram 5). Individual part size was relatively small, compelling us to explore the aggregation of several-part molds. Although this process allowed for greater variability between each part, serial modular parts were produced to assess the predictability and fidelity of the process for different geometric forms.
12 Material deflection analysis
Computation In addition to using a standard Rhino 3DM to Cura slicer, we used Grasshopper to assess the printability, castability, and fidelity of the mold and cast. We developed methods to qualitatively analyze areas of overhang to assess the need for additional support (Diagram 10). An assessment of the cross-sectional areas of all members shows forms that are likely to chill during casting (Diagram 11). Finally, we assessed cross-sectional areas of a final scan of the cast object in relation to the original model to evaluate shrinkage and torsion (Diagram 12).
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13 Lattice column multi-piece stacked ceramic molds
14 Lattice column aluminum cast
15 X module system ceramic mold
16 X module system iron casts
17 Arch column ceramic mold (left) and aluminum cast (right)
18 Perferated column ceramic mold (left) and bronze cast (right)
19 Iron Pour
Conclusions There are many obstacles to overcome before thin shell 3DP molds can provide a viable, predictable method for building component production. Significantly, it is necessary to control moisture and temperature at every step in the production process. Even with extensive precaution, rates of shrinkage and predictable patterns of warping must be accounted for in order for parts to be produced in a sufficiently predictable manner for complex aggregations (see Diagram 1). We feel that the inherent variability of the amorphous material can be overcome with technical rigor, while the predictable changes to the geometry inherent to the process can be overcome with accurate data collection and increasingly sophisticated computational modeling.
Acknowledgements The authors would like to acknowledge the Clemson Architecture Department and Architecture Foundation for financial contributions to support research and travel. We would like to acknowledge Valerie Zimmany, Daniel Bare, and Connor Alwood from the Clemson Ceramics department for their assistance with ceramic materials and techniques. We would also like to thank Dave Deitrich and Joey Manson of the Clemson Sculpture Department for use of the Clemson Foundry, and Remey Louis Hanemann and Fire Fox Metalworks for making iron casting tests possible. Finally, we would like to thank the staff of the Clemson Digital Design Studio and the Architecture Materials Lab, in particular Cody Blevins and Mason Blackwell, for their essential contributions.
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M a te r i a l C o n v e r s a t i o n s : Te c t o n i c S t u d i e s ARCH 2510 - Architectural Foundations 01 Fall 2016 Professor Joseph Choma Duration: 6 weeks These exercises in tectonics are tools for learning design, using existing methods to create a design artifacts. They teach parametric, iterative design, computational thinking and making, rigor, reflection, continuity and discontinuity through analog and digital experimentation.
Cur ves With Lines : R u l e d S u r fa c e s This ruled surface study is an iterative exercise beginning with a series of analog drawings, which are then translated into models. These models experiment with boundary movement and variation, resulting in varied surface effects. I developed my findings into a final arch model. in i ti a l a n a l o g d raw i ng
wire frame and solid void
Shapes Car ving Shapes: B o o l e a n O p e ra t i o n s An iterative Boolean operation exercise informs design between different media. After creating a series of wire frame models of intersecting geometries, I translated them into a solid/void model of the resultant operation. Revising the composition, I drew an analog axonometric movement drawing, rearranging the three-dimensional artifact through a two-dimensional medium. Last, I digitally modeled an alternate set of iterations.
anal og move me n t draw ing
digit a l ite ratio n s
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P l a n e S u r f a c e Vo l u m e : Pa p e r Fo l d i n g This exercise is an iterative development of an artifact, experimenting with folding paper to form structure and aesthetic. Learning through doing, I explore the relationship between the two-dimensional crease pattern and the three-dimensional model by creating 3 artifacts, one based on a variation of the basic folded plate, one column, and one curved crease. I push the formal boundaries of the method through the material properties of the paper.
In a column study, I experiment with how the direction of mountain and valley folds affects the direction of the surface arrangement of the resultant model.
c re as e pat te rn
I experiment with the variation of length and angle of folds to affect the curve of a spiraling 6-foot long artifact.
Experimenting with curved crease folding, I developed a twisting and tapering undulating column. The tapering and twisting add not only elegance, but also structure to the column.
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W h e re S k y M e e t s E a r t h : M o u n t a i n s i d e Pav i l i o n ARCH 2510 - Architectural Foundations 01 Fall 2016 Professor Joseph Choma Duration: 6 weeks
As a continuation of the tectonic exercises, I chose one of the previously explored design artifacts to further develop into an inhabitable mountainside viewing apparatus. I brought the elements of twisting, tailoring, and curved crease form forward to design a new structural logic based on a modular column system.
Ta i l o re d M o d u l e s The modular system was derived from the twisting and tailoring elements explored in the curved crease column. Tailoring together six panels of sheet material forms a single column piece that flares at one end and can be tessellated into infinite configurations.
S t r u c t u ra l Tw i s t i n g The twist in the module is formed by trimming one side of the unit panel slightly shorter than the other. When tailored together, the pieces curve, resulting in this twist. This rotation is not only aesthetic, but also creates rigidity in the module and adds additional structure to the overall system.
twisting structure test
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Section
Elevation
floor plan
roof plan
Column Orientation : C o m p re s s i o n R i n g The system is a new structural logic, where modules form columns that rotate at all angles, not only from floors and ceilings, but also from wall to wall when arranged in a tubular configuration. The cross-braced system acts as an extruded compression ring, much like a bicycle wheel or bone structure.
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Fabrication: Ta i l o re d F i b e rg l a s s ARCH 4110 - Composites Manufacturing for Architectural Applications Spring 2017 Professor: Joseph Choma Design Team: William Marshall, Scurry Charles, Liam Johnson, Patrick Danahy, Kelsey McKenna, Yin Zhang Duration: 16 Weeks
This project was part of an industry-funded material research course to discover innovative fiberglass manufacturing opportunities for architectural and structural application. Our focus was to reconceptualize the mold-making process of fiberglass construction. Currently, almost 100% of fiberglass construction uses molds. Eliminating the need for these molds reduces cost, material, and fabrication time.
C o m p o s i t e Ta i l o r i n g P ro c e s s We propose using the given material properties of fiberglass to drive the design of a new fabrication method. By using fiberglass as a woven fabric, we developed a method for tailoring fabric panels together, pulling them in tension, and coating them in resin. Once released from tension, the resined fabric columns support loads. tracing template
cutting fabric panels
tailoring panels together
hand finishing
joining modules
fabric columns in tension
applying resin
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E x p e r i m e n t a l Ta i l o r i n g I t e ra t i o n s As a part of the exploration, we made a series of paper and fabric experiments in tailoring techniques exploring tapering, pleating, scrunching, and ballooning as possible methods of fabrication.
Field Condition : Ta i l o re d M o d u l e s Panels are tailored together to form a graceful network of twisting, flaring columns that can be joined at all angles to form a unified floor, ceiling, and support system that is both aesthetic and structural. The Âź scale material mock-up easily supports 200 pounds.
future application vision (render by Patric Danahy)
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Chakrasana : Fo l d e d F i b e rg l a s s A rc h Firm: Design Topology Lab Summer 2017 Location: Clemson, SC Designer/Principal Investigator: Joseph Choma Team: William Marshall, Claire Hicks, Sarah Nail, Joseph Scherer Industry Sponsors: Composites One, Vectorply, Polynt- Reichhold, United Initiators, Windsor Fiberglass Duration: 12 weeks Dimensions: 12’ x 16’ x 8’
As a continuation of composite material research, we developed the concept of folded fiberglass. Reconceptualizing the mold making process, we used fiberglass as a sheet material, selectively applying resin to produce hardened panels and fabric seams, so it can be folded to produce structure. The result is a large scale, lightweight, proof-of-concept, pop-up pavilion--an inhabitable design artifact.
Fo l d i n g T h ro u g h S e l e c t i ve Application of Resin Tailoring 33 inch wide rolls of fiberglass using a full flat-felled sailing seam resulted in a 20 foot by 30 foot sheet with no wasted material. We then taped out a crease pattern to resist the resin along the folding seams. After the resin is applied and cured, the tape is removed exposing the fabric hinges. The hardened panels then fold along these seams to flat pack the structure like paper origami. The folded pavilion can then be easily transported and deployed. Once in place, the resin is applied to the fabric seams solidifying the folded structure in place.
tailoring fiberglass sheets
applying resin
removing masking material
resined crease pattern
folded structure
deployed structure
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Fo r m I t e ra t i o n s As an exercise in form finding, we created a series of small scale studies testing different folding techniques. Additionally, we created several material mock-ups, which we presented at the 2017 JEC Future of Composites in Construction Convention in Chicago.
Fa b r i c a t i o n Folding the material creates structural depth, allowing the 1/8th-inch-thick fabric to span 16 feet using no molds, fasteners, or additional structural support. When folded, the pavilion flat packs to less than 12 inches wide, only weighs 400 pounds, and is easily transported to the site for quick deployment. The entire project was designed, hand fabricated, and installed in 30 days by a five person team (instructor and 4 students). The method allows for infinite variations of form and holds potential to be pushed to greater spans and uses.
Pavilion crease pattern
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Twenty Concentric Circles: Curved Crease Fiberglass Firm: Design Topology Lab Summer 2018 Designer/Principal Investigator: Joseph Choma Team: William Marshall, Claire Hicks, Sarah Nail, Joseph Scherer Duration: 8 weeks Dimensions: 4’ x 4’ x 4’
Developing the technique and refining the craft of folding fiberglass, we created the first series of curved-crease folded fiberglass structures. With a natural doubly-curved saddle surface, the technique results in stronger, sturdier structures than that of straight-crease folding.
Fiberglass roll
Tracing laser-cut template
Drag-knife cutting masking material
Masking material applied to fiberglass
Application of resin
Removal of masking material
Folding along fabric seams and clamped into position
Application of resin to seams
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Paper model
Final piece
Final piece
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C ro s s ro a d s : G u e l p h M a r ke t H a l l ARCH 3520 - UNTITLED Studio Spring 2018 Professor: Dave Lee Duration: 6 weeks Award: Lyceum Fellowship 2018 Design Competition Citation
A master plan and market hall design that provides a connection to separated regions of the city. Two paths extend to the city converging at the market hall complex: a hub providing the people with an urban connection, a gathering place, and housing.
Mending the Gap two connecting paths: - a ground path, from downtown to the riverfront - an elevated rail path, from the station to the basilica at the intersection of paths, a crossroads forms: - an interchange - physical connection - a place of activity - social interaction - a center for trade - cultural integration
Master plan
at the Crossroads a path - forming a physical connection across barriers a gathering space - creating a place for social interaction
a home - providing immigrants with integrated housing - a place to live market - the expression and exchange of culture
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Section A
Section B
Section C
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Path rendering
Upper level plan
Interior rendering a path - a physical connection -- tying the city together crossing barriers - topography - railroad - separation the ground path - connecting the riverfront to town core - crossing under the railroad through the existing underpass the elevated rail path - connecting the basilica to transit station - running along the railway and bridging over roads the crossroads - an interchange, a junction between paths - connecting the ground path and the elevated path - providing a stair between levels a gathering space - social interaction the form - it provides a public open gathering space - the staired/terraced form creates seating and outdoor amphitheaters the crossroads - a place of interchange and interaction - bringing different people on different routes through a common location - where people come together to cross barriers a home - cultural integration - not only a place to live - immigrant housing - but also a connection to a place - a city (physical connection - a path) - and a connection with others - a community (social interaction - a gathering space) the crossroads - a place of interaction with others - historically, a place of trade/exchange - a mixing of cultures the market - a place of exchange of goods/ideas/culture - an expression of self and culture
Lower plan
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Cantina on the Corso: Montepulciano Winer y ARCH 3500 - Urban Context Fall 2017 Professor: Tim Brown Duration: 8 weeks
As an iterative process exercise, I created a series of conceptual section sketches and spatial models to generate ideas for the project’s Montepulciano infill site. Then, through a series of digital and physical models, I developed these concepts into a spatially rich building scheme that also has a narrative integrated within the city itself.
S p a t i a l D eve l o p m e n t Through a series of conceptual section sketches, I began to generate ideas for the organization of the cantina. I then created a series of spatial models developing the form, organization, and experience of the interior.
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Tasting Space (View)
Large Gathering Space
Tasting Space (Wine Process)
Tasting Space (Light Well)
Wine Storage
Section A
Large Gathering Space
Entry Space
Retail
Tasting Space (Light Well)
Wine Storage
Section B
Large Gathering Space
Entry Space
Retail
Wine Storage
Tasting Space (Light Well)
Section C
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ella Via d so l Sas Pie a
Tasting Space (Light Well) Wine Storage
Leve l 0 1
W. C.
Retail
W. C.
Tasting Space (Wine Process)
Leve l 0 2
Gathering Space
Entry Space Large Gathering Space
cci Via Ri
Tasting Space (Community)
Tasting Space (View)
Portico
Leve l 0 3
Leve l 0 5
Leve l 0 4
Tasting Space (View)
Tasting Space (View)
Large Gathering Space Large Gathing Space
Tasting Space (Community)
Entry Space Retail
Entry Space
Retail Tasting Space (Wine Process)
Wine Storage
Wine Storage
Section D
Section E
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Fo r m a l E l e m e n t s Narrow, deep windows cut through the thick exterior walls. The viewer can only see through these deep-set apertures when standing in specific locations. So, as the viewer moves parallel to the wall, these apertures open and close, appear and disappear. This effect encourages the viewer to move through the building and discover the hidden views and spatial experiences. Folded floors, ceilings, and walls allow for multiple heights and widths within each space. This change in plane affects the experience of moving through the building as the viewer feels pressed into a smaller space or pulled out into a larger one.
Just as the initial moment from the street is a set-back and downward void, the initial moment of entry is a downward stair, which encourages the viewer to descend through the light well and into the space below. This void brings light and air into what is otherwise the darkest region of the building, inviting visitors to experience all levels of the cantina. The setback also exposes the live tufa face of the mountain on which the city is built. This exposed tufa is the same stone as the massive walls of the structure, tying the building to the mountain itself and allowing the viewer to experience the connection.
V i a R i c c i E l eva t i o n
E n c l o s u re The two facades of the building are constructed of tufa, a rough stone seen frequently in the architecture of Montepulciano and the material of which the mountain itself is composed. The depth of the walls creates space to hide the circulation and allows for the deep-set windows that activate the interior spaces.
V i a d e l P i e A l S a s s o E l eva t i o n
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Bodies in Formation: Flexible Formwork and Digital Simulation (ACADIA 2018 Workshop lead by Andrew Kudlass of Matsys and CCA) Team: Shan Sutherland, William Marshall, Cody Blevins Duration: 3 days, 14-16 October Dimensions: 2’ x 3’ Piece chosen for display at ACADIA 2018 Conference
Building on the research at Matsys, this three day workshop explored analog and digital techniques for the design and simulation of plaster casting with flexible formwork. Working in groups, we created a collective series of cast wall panels. My team developed a smocking system to create doubly curved bridging details cast from a single sheet of stitched fabric.
Smocked fabric stitching
Smocked fabric flexible mold
Pouring plaster into flexible formwork
Removing fabric from cast
Discrepancies between simulation and fabrication. [Digital drawing (left) by Shan Sutherland]
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Collaged woodcut process
Ra zing the Grain: P r i n t i n g B u r n e d Wo o d Tex t u re ART 4990 - Directed Studies Printmaking - Spring 2017 Professor: Todd Anderson Duration: 8 weeks
Collaged woodcut block print (dimensions 7� x 4�)
In this project, I sought to explore wood block printing as a representational medium. I experimented with the natural proporties of material to create different printed effects. As a way to explore and catalog mark-making, I burned and printed the grains of different woods, creating a tone and texture pallet. From this pallet, I selectively collaged and burned the textures to create imagery.
Woodcut block print (dimensions 21” x 7”
Collaged woodcut block print (dimensions 12” x 20”)
Collaged woodcut matrix
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Dead 27’s: L aye re d S t e n c i l M u ra l ART 3110 - Intermediate Printmaking - Fall 2016 Professor: Todd Anderson Duration: 2 weeks Dimensions: 15’ x 6’ In collaboration with Claire Hicks
Using Claire’s experience in painting and my experience in printmaking and stenciling, the two of us collaborated on a 15-foot mural. Claire created a series of five three-tone paintings, which I then translated into a set of layered stencils. We completed the composition at the Foundation Walls, an area in Asheville, NC designated for outdoor public art. The mural commemorates five artists who died at the age of 27: Jimi Hendrix (1942-1970), Janis Joplin (1943-1970), Jim Morrison (19431971), Kurt Cobain (1967-1994), and Amy Winehouse (1983-2011).
R u l e d S u r fa c e S t a i r w e l l Installation ART 2090 - Beginning Sculpture - Fall 2017 Professor: Carry Morton Duration: 4 weeks Dimensions: 20’ x 10’ x 15’ I created a ruled surface installation in the stairwell adjacent to the Clemson Architecture studio. This piece focuses on the visual movement of the ruled object in space. As the viewer moves under and around the installation, the viewer’s eye breaks the plane of the surface.
Curves with Lines
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Because the installation is temporary, and the surface of the wall is brick, I developed a material connection joint by wedging a small block of wood into the mortar gap.
Material joint detail
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C ybernetic Documentation : G ra p h i c re c o rd i n g o f a C o nve r s a t i o n Title: Conversation about Design and Designing with a Conversation Event: American Society for Cybernetics 2017 Conference Date: August 11, 2017 Time: 90 minutes Location: Salem, MA Panel Chair: Joseph Choma (Clemson) Panelists: Mark Goulthrope (MIT), Patrick Harrop (Laurentian University), Ted Krueger (RPI), Nathan Felde (Northeastern), Daisy Ames (Columbia) Drawing Team: William Marshall and Claire Hicks
“In conversation, participants find themselves discussing topics they’d never thought of, when they began, and they may find radical, new ideas in and through the conversation.” -Ranulph Glanville The panel was a tribute to Ranulph Glanville (1946-2014). It began with specific topics (short quotes from Ranulph’s work) and ventured off to less predictable territory. Throughout the conversation, my partner and I drew and graphically recorded the panel conversation on an 18’ x 3’ sheet of paper. At some point, the panelists paused and reflected on the conversation they just had by looking at the drawn recording. We (the recorders of the conversation) then became active participants in the conversation, explaining our thought process. Then, collectively all participants reflected on the reflection of the reflection -- discussing the act of constructing knowledge as a collection of design decisions.
Panalists and Cybernetic Drawing
18’ x 3’ Drawing
Drawing details