inflatophilia portfolio - hyperbody - TU Delft

HYPERBODY INFLATOPHILIA PERFORMATIVE PROLIFERATIONS msc1 design studio directed by Marco Verde eng, MArch

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 1

TABLE OF CONTENTS 1. PERFORMATIVE PROLIFERATIONS WORKSHOP

1.1. Development Genotype I

1.2. Development Genotype II 2. BACKGROUND INFORMATION

2.1. Tensegrity

2.2. Introduction to Inflatables: Frei Otto Experimentations

2.3 ComputerBlue: AA DRL Project

2.4. Adaptability 3. INFLATOPHOBIA

3.1. Preliminar Analysis on Genotypes configurations

3.2.Functioning Principle

3.3. Variations Chart

3.4. Studies on structure’s proportions

3.4.1.Serie a

3.4.2. Serie b

3.5. Genotype Development

3.5.1 Series c: Spine Inclination

3.5.2. Series d: Spine Inclination

3.5.3. Series n: Linear Spine Inclination | Series o: Non linear Spine Inclination

3.5.4. Pressure Variation Test I

3.5.5. Pressure Variation Test II

3.5.6. Series m: Spine Width Variation

.5.7. Genotype p, q, r: Double Units

3.5.8. Genotypes e-j: Variation on Connections for proliferation

3.5.9. Genotypes k-l: Variation on Connections for Proliferation

3.6. Proliferative System

3.6.1. . Rules of proliferation

3.6.2. Rules of proliferation

3.7. Assembling Details

3.7.1. Closing ways

3.7.2. Air Pumps, balloons and valves

3.7.3. Making of Fiberglass

6. PARAMETRIC MODEL 6.1. Grasshopper development 7. FINAL COMPONENT

7.1. Limits in the previous component and new studies

7.2. Shape studies on new mesh configurations

7.2.1. Configuration a

7.2.2. Proliferation Configuration a

7.2.3. Configuration b

7.3. Proliferative System

7.3.1. Basic Mesh

7.3.2. Curvature Change

7.4. Components’ Positions

8. ARCHITECTURAL PROPOSAL

8.1. Components and Human Scale

8.2. Sound studies

8.3 Possible system configurations

8.4. Urban Planning

8.5. Site and surroundings

8.6. External Membrane

8.7. Architectural Proliferation

8.7.1. Top View

8.7.2. Bottom View

8.8. Urban Impact REFERENCES APPENDIX I: Ready to Fabrication Workshop

4. MIDTERM PROTOTYPES

4.1. Dynamic Prototype

4.1.1. Moving Proliferation

4.1.2. Benchmark Map

4.2 Further Studies on different connections

4.3. Static Prototype 5. ARCHITECTURAL DEVELOPMENT

5.1. Studies on the System’s 5.1.1. Development.

5.1.2. Development II

5.1.3. Development III

5.2. Branching studies

5.3 Further measurements and no-air prototype strategy

5.3.1. Final measurements

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 2

> Coordinates

CREDITS

MSc1 Design Studio

HYPERBODY, Delft University Of Technology

01.08.2010 to 20.01.2011

> Students

Yaron Israel_Israel

Lieke Kraan_Netherlands

Alice Mela_Italy

> Director/Instructor

Marco Verde Eng, MArch www.marco-verde.blogspot.com

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 3

2. BACKGROUND INFORMATION

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 16

2.1. Tensegrity

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 17

Tensegrity or tensional integrity is a type of structure with an integrity based on a balance between tension and compression components. In a tensegrity structure the compressive members are connected to each other by tensile members.

Chordal Ricochet Pattern in Stretch Action of a Balloon Net

Function of a Balloon as a Porous Network

The term tensegrity was coined by Buckminster Fuller and it means a contraction of tensional integrity structuring. All geodesic domes are tensegrity structures, whether the tension-islanded compression differentiations are visible to the observer or not. Tensegrity geodesic spheres do what they do because they have the properties of hydraulically or pneumatically inflated structures.

According to what written by R.B. Fuller in Synergetics, the balloons functioning is really similar to the way tensegrity structures work.

Tensegrities are ‘hollowed out’ balloons, discarding their redundantly ‘solid’ air core. [1] In balloons the rubber skin of the balloon continuously pulls while the individual molecules of air are discontinuously pushing against the inside of the balloon keeping it inflated. All external forces striking the external surface are immediately and continuously distributed over the entire system and this makes the balloon very strong.

The pressurized internal liquid or gaseous molecules try to escape from their confining enclosure. The outward-bound molecules impact evenly upon all the inside surface of the enclosure […] This molecular acceleration is misidentified as pressures and firmness of the pneumatic complex.

This molecular acceleration distributes the force loads evenly. The outward forces are met by the comprehensive embracement of all the tensile envelope’s combined local strengths. All locally impacting external loads […], are distributed by all the enclosed atmospheric molecules to all of the skin in the innocuously low magnitudes.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 18

2.2. Introduction to Inflatables: Frei Otto Experimentations

The idea of working on inflatable units came from the analysis of some studies made by Frei Otto in 1979.

The study was based on the use of air balloons and tension bands. the starting shape of the units was a sphere. Adhesive strips or chords modify the rounded balloon making it look like a tube. When the stripes were not parallel to each other, but forming an angle, the balloon was curving. In order to profit of this characteristic a second try was done with a net with some cut corresponding to the previous bands positions.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 19

2.3 ComputerBlue AA DRL Project

Michael Dosier, Tyson Hosmer, Tyan Szanyi, Faysal Tabbara Lighter than Architecture Tutor: Alisa Andrasek

An investigation into agent-based design brought about questions of ecology and anatomy. Our research investigates the role of different anatomies and the context within which they exist. By re-conceptualising the vectorbased protocols of agents, different collective behaviours emerge as feedback between environments, and agent colonies are introduced. Exploration into the anatomy of the agent beyond the notion of a pixel also introduced a capacity for creating structures. By establishing relationships of matter and information, we can begin to materialise these digital ecologies. Research into a lighter than air architecture provides a framework to deploy a living system of material agent organisms into an urban environment to create spontaneous temporary architecture. Autonomous interactions between other agents, people, and site create a living ecology.

[4]

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 20

2.4. Adaptability

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 21

E

W

S Sun flowers have a type of phototropic response called heliotropism (sun turning); the leaves and flower heads of young sunflowers follow the sun and their orientation therefore changes from east to west during the day.

The movements become a circadian response and when plants are rotated 180 degrees, the old response pattern is still followed for a few days, with leaf orientation changing from west to east instead. The leaf and flower bud phototropism occurs while the leaf petioles and stems are still actively growing and once mature the movements stop.

The movement occurs as the petioles bend or twist during the day and at night they unbend or untwist.[2]

07:00 hours

S

09:00

On the left a diagrams of heliotropic movement of sunflower leaves from 7 am to 5 pm is visible. Lamina inclination changes for leaves on the east (E) and west (W) sides of the plant, so that they maintain a relatively constant angle to the solar beam (S), as the sun moves from east to west during the day. During the night, leaf positions recover to the starting point. Lamina inclination is controlled by the curvature of the petiole. [2]

S

11:00

S

13:00 S

15:00

S 17:00

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 22

3. INFLATOPHOBIA

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 23

3.1. Preliminar Analysis on Genotypes configurations

The first attempts of creaing an inflatable unit were based on the experimentation of different materials, dimensions and combinations.

The first attempt started as a multiple unit, done by three ballons with the same dimension, unified by two connectors.

The structure presented some problems in stability and the proportions between the the length and the diameter of the balloons were not offering any advantage in terms of flexibility.

In the following attempt elastic bands were used, locked by clips. The structure’s flexibility was of interest but the curvature reached by the unit was too small to allow a large proliferation, furthermore the lack of a central spine was not permitting any precise configuration in placing the “ribs”.

Later on we used ropes as ribs on the inflatables in order to give a strcture to the unit. Althought the ropes were allowing a good flexibility they were not precise in measurements and too thin to give stiffness to the unit.

The last attempt of this serie was based on the use of a plastic bottle with some cuts on the side and a smaller balloons.

The structure was giving the right balance between the rigidity of the spine and the flexibility of the balloon through the cuts.

This last unit was the starting point for a new shape experimentation through laser cutting pvc sheets. The need for customization of the units was indeed the main lack in the bottles experimentation.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 24

r = 260 mm aOb = 198°

a

O

b

341 mm

a b

b a

r = 519.4 mm aOb = 93° 30’

O r = 70.5 mm aOb = 120° 30?30’

990 mm

180 mm HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 25

3.2.Functioning Principle

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

y

The principle behind the inflatable units is the stiffness created by the increasing of the inside pressure.

Indeed, by pumping air inside the units, the spine that contains the balloon will fold becoming more stiff and enhancing the rigidity of the unit.

From a geometrical point of view, by increasing the pressure/ air of the distance between the ribs of the spine increases and the diameter of the balloon’s sections increases.

y

y

y

y

y

y

y

x

x x

x

x

x x

x

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 26

3.3. Variations Chart

l

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 27

3.4. Studies on structure’s proportions 3.4.1. Serie a

300 mm

300 mm 280 mm

300 mm 40 mm

20 mm 40 mm

30 mm

140 mm

41.6 mm

a3

1077 mm

1002 mm

r 298 mm

r 341 mm

260 mm

360 mm

336 mm

380 mm

a2

a1

10 mm 16 mm

48 mm

10 mm 30 mm

44 mm

15 mm

336 mm

15 mm

65.6mm

10 mm

a4

964 mm

a5

1020 mm

794 mm

r 674.5 r 552.5 mm

r 453 mm

scale 1:4 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 28

a1

a2

a5

a4

As visible from the pictures and diagrams aside, the number of ribs strongly influenced the curvature of the units.

To more ribs was corresponding a higher control of the shape (a1, a5).

An interesting outcome was also related to the general proportions of the balloons. Indeed the big ones (9 mm deflated, 17 mm inflated), were not offering big variations in the curvature of the unit because of the natural stiffness due to the amount of air in the units.

The balloons were indeed not free to expand properly in the spine (a3, a4).

According to the results of this serie we therefore decided to focus only on small diameters balloons (10 mm deflated, 35 mm inflated).and to a big number f ribs (variations from 6 to 12 ribs).

a3

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 29

3.4.2. Serie b

10 mm

b4 6 ribs spine length = 1034 mm ribs width = 369 ratio between ribs and space = 0.68

b6 14 ribs spine length = 1034 mm ribs width = 340 ratio between ribs and space = 0.47

10 mm 365mm

16 mm 365mm

365mm

24 mm

b2 12 ribs spine length = 1034 mm ribs width = 340 mm ratio between ribs and space = 0.5

365mm

365mm

365mm

b1 12 ribs spine length = 1034 mm ribs width = 340 ratio between ribs and space = 0.69

15 mm

120 mm

10 mm

20 mm

120 mm

10 mm

8.8 mm

120 mm

10 mm

15.4 mm

130 mm

26 mm

13.6 mm

11.6 mm

15 mm

9.8 mm

10 mm

15.2 mm

120 mm

10 mm

12 mm

130 mm

b7 14 ribs spine length = 1034 mm ribs width = 340 ratio between ribs and space = 0.83

b8 12 ribs spine length = 1034 mm ribs width = 368 ratio between ribs and space = 0.65

scale 1:4 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 30

Due to spine’s fragility the unit b3 got broken before inflating it. The unit b5 got broken as well because of the connections edges, that were too thin to assure strength.

For these reasons the two units were not further developed.

Between the others the unit b8 was chosen for further development because it gave the best performance in terms of flexibility (it was the average curve) and stiffness (the spine did not tend to break when folding and inflating the balloon).

b6

b2

b4

b3

b5

b1

b8

b7

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 31

3.5. Genotype Development 3.5.1 Series c: Spine Inclination

c1

c2

c3

c4

c5

c6

40°30’ 9°

0°

5

24°

39°

46°

’

°30

40

42°

47°

44°30’

scala 1:3 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 32

3.5.2. Series d: Spine Inclination

d1

d2

d3

d4

d5

d6

°

27

23° 4°

43°

30°

72°

58°

17°

°

20

30’

30°

2°

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 33

31°

3.5.3. Series n: Linear Spine Inclination Series o: Non linear Spine Inclination

scala 1:3 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 34

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 35

18 3,

97

42 3,

mm

mm

m

52,93 mm

2

,8

m

61,22 mm

79

,4

8

mm

61,07 mm

mm ,4 4

m

10 0, 24

20

77

78

m

Spine 7 Spine Angle = 14,5° Radius xy = 198,25 mm Radius xz 1 = 214,52 mm Radius xz 2 = 214,52 mm Rotation 1 = 79,2° Rotation 2 = 40,7° Rotation 3 = -40,7° Rotation 4 = -79,2°

42,9 °

42,9 °

269,71 mm

02

mm

,0

2

mm

x

mm ,52

mm

12,5 ° 26,9 °

294,51 mm 58,23 mm

79 ,3 0

mm

m m

16 mm = 405, radius

128,27

z

m m

x

14,5 °

x

61 5, 19

52 mm

= 214, m 5m 3,2 19

z

11,0 °

z

214

125,17

radius

167,53 mm

x

s=

260,35 mm

16 9

Spine 4 Spine Angle = 7,1° Radius xy = 169,02 mm Radius xz 1 = 266,34 mm Radius xz 2 = 405,16 mm Rotation 1 = 39,4° Rotation 2 = 20,3° Rotation 3 = -20,3° Rotation 4 = -39,3°

radiu

ius =

mm

x

y

266,34

4,

radius =

16

50,4 °

m m

255,36 mm =

50,4 °

rad

25 8, 19

ius

Spine 1 (Basic Position) Spine Angle = 0° Radius xy = 164,02 mm Radius xz = 1E11 mm Rotation 1 = 0° Rotation 2 = 0° Rotation 3 = 0° Rotation 4 = 0°

=

rad

51,1 °

s diu ra

51,1 ° y

y

x 288,67 mm

47,8 °

47,8 °

rad

262,83 mm 42

m

m

1m

9,2

14

m

radiu

x

,80

7,

246

17

s=

=

y

mm

ius

32,1 °

Spine 8 Spine Angle = 16,2° Radius xy = 177,42 mm Radius xz 1 = 116,92 mm Radius xz 2 = 246,80 Rotation 1 = 91,7° Rotation 2 = 47,5° Rotation 3 = -47,5° Rotation 4 = -91,7°

ius

rad =1 ,92

16

Spine 5 Spine Angle = 9,5° Radius xy = 148,76 mm Radius xz 1 = 942,90 mm Radius xz 2 = 312,06 mm Rotation 1 = 52,4° Rotation 2 = 27,1° Rotation 3 = -27,0° Rotation 4 = -52,4°

mm

,82 185

mm

z

x 20,7 °

300,16 mm

15 8,7 7m

74

m ,50

m

37,89 mm

Spine 2 Spine Angle = 2,4 ° Radius xy = 160,96 mm Radius xz 1 =149,78 mm Radius xz 2 = 446,58 mm Rotation 1 = 13,1 ° Rotation 2 = 6,8 ° Rotation 3 = - 6,8 ° Rotation 4 = - 13,1 °

m

30,6 °

30,6 °

277,31 mm = ius

rad

15

m 7m 3,2

rad

mm

ius

m

x

=2 21 ,60

5m 2,6

27

y

48

6, 20 mm

36,8 ° 26,2 ° 70

rad

17 1,

Spine 9 Spine Angle = 18,4° Radius xy = 272,65 mm Radius xz 1 = 111,44 mm Radius xz 2 = 221,60 mm Rotation 1 = 104,8° Rotation 2 = 54,2° Rotation 3 = -54,2° Rotation 4 = -104,8°

ius

mm

=

61,99 mm

mm 44 79 ,

47,36 mm

323

3

m

m

28

9,

20

40,9 °

40,9 °

mm

273,63 mm

x

rad ius = 20 82

8, m m

= 22

27,2 °

307,66 mm

Spine 10 Spine Angle = 20,5° Radius xy = 208,82 mm Radius xz 1 = 409,03 mm Radius xz 2 = 226,06 mm Rotation 1 = 118,2° Rotation 2 = 61,1° Rotation 3 = - 61,1° Rotation 4 = - 118,2°

7,5 ° 23,3 °

mm

x

162,10 mm

radius = 277,77

radius = 549,03 mm

z

m

radius

=

,24

,9

108,84 mm 4,3 °

mm

m

331,68 mm

77

17,5 °

,65 193

9

6,06 mm

=1 65 ,33 mm x

226

ius

Spine 6 Spine Angle = 11,8° Radius xy = 165,33 mm Radius xz 1 = 277,77 mm y Radius xz 2 = 226,24 mm Rotation 1 = 68,8° Rotation 2 = 33,9° Rotation 3 = -33,9° Rotation 4 = -68,8°

258,11 mm

ius

mm

rad

s=

rad

radius = 373, 79 mm

y

18 mm1,0

51,3 °

radiu

265,80 mm

Spine 3 Spine Angle = 4,8° Radius xy = 209,28 mm Radius xz 1 = 549,03 mm 68,8° Radius xz 2 = 373,79 mm Rotation 1 = 26,2° Rotation 2 = 13,6° Rotation 3 = - 13,6° Rotation 4 = - 26,2°

,87

51,06 mm

51,3 °

39,2 °

1,7 °

z

x

39,2 °

123,00 mm

mm

mm

4

7

1,4

11

7

8 4,

x z

9,03 mm

284,07 mm

radius = 40

19

m

9m

7,3

z

x

mm ,30 163

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 36

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 37

p0 r = ∞

p1 r = 51 mm

p2 r = 61.1 mm

p3 r = 65 mm

3.5.4. Pressure Variation Test I

A preliminary pressure variation was run using the unit h.

The experiment went throgh many problems. The first one was the difficulty of measuring the air pumped inside the balloon. Secondly the impossibility of measuring the air lost through the valves.

The study gave some interesting outcomes in terms of parameters but finally ended up to be useless because of the lack of precision in the equipment. In the diagram in the following page it is visible that there is no consistency in the curves growth.

A further study in pressure variation solved the problem.

p4 r = 70 mm

p5 r = 86.6 mm

p6 r =111.5 mm

p7 r = 112.4 mm

p8 r = 150.8 mm

p9 r = 214.7 mm

p10 r = 257.9 mm

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 38

p0 r = ∞

p1 r = 51 mm

p2 r = 61.1 mm

p3 r = 65 mm

p4 r = 70 mm

p5 r = 86.6 mm

p6 r =111.5 mm

p7 r = 112.4 mm

p8 r = 150.8 mm

4.7 mm

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 39

p1 p2 p3 p4 p5

8,72 mm

p6

66,82 mm 7,5°

3.5.5. Pressure Variation Test II

p7 p8

134,21 mm

p9 p10 p11 p12

7,5°

266,12 mm

radius = 1019 ,54 mm 141,86

mm

16,05 mm

mm

69,97

13,3°

13,3°

radius = 602 ,10 mm 276,30 mm

mm

25,48 mm

147, 21

m 8m 71,0

21,0°

21,0°

s= radiu 34 383,

274,85 mm

mm

154,

7m

m

mm

32,68 mm

73,0

76

26,6°

26,6°

276,84 mm

radi us = 30 9,46

16 4,8 5m m

43,04 mm

mm mm ,92 73

35,6°

35,6°

17

5,2

= ius rad

5

m 4m 0,1 23

m

m

49,71 mm

m

8

,0

75

m

268,03 mm

41,5°

41,5°

rad

17 9,9 3

ius

m m

= 19 8,3

262,68 mm

8 m m

m m

52,07 mm

7 ,0 76

43,5°

43,5°

m 7m 9,0 21

261,00 mm

s diu ra = 6 9,5 18 65,35 mm

79 ,5 3

mm

m m

23 6,0 3m m

55,3° 55,3°

249,72 mm

15 1,9 6

mm

81

,07

69,09 mm

mm

rad ius =

m 3m 0,7 25

58,5°

rad

ius

=1

44

58,5°

246,97 mm

,89

mm

281,

71,65 mm

61,0°

mm

243,51 mm

83,9

4m

75,96 mm

m

=1 39 ,28

mm

81 ,96 mm

18

61,0°

radi us

64,8°

radi

us

= 13

2,23

mm

64,8°

239,32 mm

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 40

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 41

3.5.6. Series m: Spine Width Variation

A further sperimentation in parameters variations was about the width of the spine. We set ten different dimensions from 8 mm to 34 mm. and tested the reaction of the fenotypes when inflated always with the same amount of air.The final result of the study was that the position number 2 (12.7 mm) was giving a better stiffness and resistence compared to the one used before (21.3 mm).

m1

m2

m3

m4

m5

m6

m7

o8

m9

m10

scala 1:3 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 42

72

,80

0,2

8m

m

mm

p+4 29.7 mm p+5 33.9 mm

Position -1 Spine Width = 8,6 mm Radius = 240,53 mm

40,37 mm

16

33,7 °

33,7 °

p-1 8.6 mm 266,76 mm

p+2 21.3 mm rad

19

ius

01 7,

=2

m

,5 3

m

40 mm

Position 0 Spine Width = 12,7 mm Radius = 166,22 mm

77

,2 5

m

59,04 mm

m

p0 12.7 mm

49,9 °

254,10 mm ius

=

16

6, 2

2

m

p0 12.7 mm p+3 25.5 mm

49,9 °

m 9m 3,2 21

rad

p+1 17.0 mm

p+1 17.0 mm

m

p-1 8.6 mm

78

,39

mm

63,80 mm

Position + 1 Spine Width = 17,0 mm Radius = 152,28 mm

54,5 °

p+2 21.3 mm

54,5 °

247,87 mm

rad

ius

=

p+3 25.5 mm

15

2,2

8m

m

,90

279 mm

74,91 mm

m 5m 82,4

65,3 °

rad ius

=1

m m

31,2

5m

m

p+4 29.7 mm Position +5

65,3 °

233,74 mm

17 8, 27

m m

Position + 3 Spine Width = 25,5 mm Radius = 181,44 mm

52,02 mm

2 ,2 74

Position + 2 Spine Width = 21,3 mm Radius = 131,25

p+5 33.9 mm

44,5 °

44,5 °

s diu ra =

254,32 mm

4

4 1, 18 m m 14,0 °

mm

15,96 mm

133,87 mm 65,77

Position + 5 Spine Width = 33,9 mm Radius = 536,67 mm 14,0 °

= radius 533,84

259,15 mm

mm 14,6 °

17,22 mm

139,34 mm 68,53

mm

14,6 °

Position + 4 Spine Width = 29,7 mm Radius = 533,84 mm

radius

269,73 mm

= 53 6,67

Knacks under too much pressure

mm

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 43

3.5.7. Genotype p, q, r: Double Units

The triple layer spine in this configuration (p) was limitating the flexibility of the unit. Indeed, once the external balloon was inflated, it was not possible to fully inflate the internal one because the spine was opposing resistence.

p

In this second configuration (q) the spine structure was formed only by two (thinner) layers. In this way the whole structure was enhancing the flexibility of the unit, allowing a more fluid variation and influence of the two balloons one over the other one.

q

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 44

Position 1 r 893.81 o°

Position 2 r 85.72 140°

P1

Position 3 r 30.8 390°

Position 4 r 30.8 390°

Position 5 r 26.8 450°

P2

P 10

P3

P9 Position 6 r 27.21 450°

P4

P8 P5

P7 P6

Position 7 r 23.33 454°

Position 8 r 17.75 740°

Position 9 r 16.82 750°

Position 10 r 17.21 750°

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 45

3.5.8. Genotypes e-j: Variation on Connections for Proliferation

The shape of the ribs, larger at the beginning, was influencing too much the shape of the inflated unit, wihout offering more strenght to the structure.

The complex shape of the valve entrance was giving fragility to the structure, without offering any better feature

Reinforcing structure for inflating without deforming the balloons

The spine twists when the internal connections are placed on the bottom

Longer spine to enhance the flexibility of the proliferative structure HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 46

3.5.9. Genotypes k-l: Variation on Connections for Proliferation

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 47

3.6. Proliferative System 3.6.1. . Rules of proliferation

p10

p9 p9

p8

p9

p6

p7

p4

p8

p5 p3

p2

p4

p1

p5

p2

p6

p3

p7 p6

p4

p7

p5 p7

p8

p6

p7 p8

p8

p9

p10

p8

p6

p9

p10 p9

p4

p5

p8

p9

p2 p3

p6

p9

p8

p6

p6

p9

p8

p3 p4

p7

p10

p7

p5

p7

p10

p1

p4 p5

p8

p9

p2

p5

p8

p9

p3

p6

p9

p8

p5

p6

p9

p8

p4

p7

p10

p7

p4

p7

p10

p7

p5

p8

p9

p6

p3

p8

p9

p6

p6

p9

p10

p8

p5

p7 p9

p10

p7

p2

p8

p9

p10

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 48

Basic connection unit

Basic rule of proliferation (isomatric surface)

p2

3.6.2. Rules of proliferation

Each unit has four side connections. According to the number of connections closed it changes the porosity of the system.

Linear proliferations can reach high curvatures values as visible in the picture aside.

p2

Linear basic proliferation p2 p2 p2 p2

p2 p2

Linear proliferation from minimum to maximum (double components) p7

p7

p9 p5

p-3

p-3

p5

p-1

p9 p3

p-5

p-9

p1

p3

p-5 p-9

p-7

p-7

Linear proliferation from minimum to maximum (single components)

p1

p3

p1

p3

Basic flat proliferation (isomatric surface)

p5 p5

p7 p9

p7 p9 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 49

3.7. Assembling Details 3.7.1. Closing ways

One of the main problems we encountered in this project has been the control of the air getting inside and outside the balloons. Because of the impossibility of customizing our own valves we had to make different trys before finding a measurable way to close the ballons.

The first experimentations were really rough, using clips or directly knots. As soon as we realized that we were needing to measure the air getting inside and deflate the units when needed we looked for something more professional and we ended up usinf bike valves.

Another step in controlling the units was the way the valves were attached to the spine and to the balloon, because because this was another factor influencing the loss of air.

Since tere was still a small loss of air we also ended up sealing the valves first with silicon and then with srinking electrical tubes.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 50

16:00 pm

Washer system

18:00 pm

Washers

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 51

213 ml

3.7.2. Air Pumps, balloons and valves

257 ml

120 mm

Different pumps and balloons sizes were used. The first experimentations were run with hand pumps, but the results were not satisfying because it was really hard to measure the amount of air inflated. This is the reason why we later on passed to electrical pumps.

The balloons also changed often during the process, usually according to the changes in the spines configurations.

The first units were using balloons 8 cm long, but we then realized that we would have had a more flexible structure by increasing the length of the units.

Another component we changed during the process were the valves, that we divided in one side and two sides walves, based on a component that, if missing allows the air to go back and forth, instead that in only one direction.

90 mm 80 mm

bike valve

dead bike valve

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 52

3.7.3. Making of Fiberglass

In order to work on a stable proliferation to make the moving one we had to change material because the pvc was not stiff enough and it was breaking too easily.

Glass fiber were made for this reason.

Vaacum Pump

Epoxy Resin

Breather Glass Filament Fabric

Hardner

Measuring Cup Receptor Perforated Silicone Sheet

Stearer

Release Agent

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 53

A sheet of nylon is scratched on the surface in order to make it as smooth as possible. This will be the basis upon which the vacuum forming will be done. In order to have the bottom side of e final material completely smooth, a material thicker than nylon and less flexible must be used for this phase.

Once the base surface is completely stretched, a liquid agent is released all over the surface in order to allow the easy removal of the materials applied on it.

After the release agent is applied it must be left to dry for several minutes.

While the release agent dries all the dry materials are prepared and cut in the right size. These include the black glass filament fabric, a perforated sheet of silicon and a sheet of breather. In order to cut the glass filament fabric straight, and without deforming the structure of the fabric, the desired size is framed with docktape and cut through the frame.

Once the released agent has dried the nylon is re-streched.

Sealer tape is then glued around the peripheral edge of the surface, leaving it ready.

At this stage a mixture of resin and hardener in a ratio of 2:1 is prepared and applied equally spread all over the surface The sheet of glass fibres can finally be applied on the spread resin, taking care that they are placed flat and straight in order to allow a balanced outcome.

The resin mixture has then to be applied to the fabric, taking care that it enters its fibre and covers them.

A sheet of silicon is then applied on the fibres, in order to allow a easy release later on in the process. On top of the silicon the breather sheets are placed. The role of these sheets is to absorb the exceeding resin while allowing all the air to be sucked out from beneath them.

Finally the top layer of nylon is placed and sealed, making sure that no air is able to enter.

A vacuum pump is connected to the valves, sucking all air out. The pump is set to maintain a vacuum pressure of 18, so that even if little air infiltrates, the pump immediately sucks it out. The material in these conditions has to wait for about one day before being open and used.

After one day drying, the material is ready to be used. The pumps can be detached and layers can be taken off gently, being sure of keeping the material straight an un-harmed.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 54

4. MIDTERM PROTOTYPES

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 55

4.1. Dynamic Prototype 4.1.1. Moving Proliferation

For the moving proliferation a whole system was built. After enlarging the general dimensions of the units and using the glass fibres as building material a benchmark containing all the components was assembled.

The system uses five switches that connect four balloons each to an electrical pump. The pumps are connected, through a relay each, to the Arduino processor. This last one is also connected to five servo motors that control the fifth input of the switches in order to allow the system to deflate.

Two buttons allow a direct interaction with the system by moving it from position 1 in position 2.

The inflating/deflating interaction it is possible thanks to the fact that the valves used allow the air to go in both directions.

This was doable by taking apart a rubber part inside each valve.

200 mm

583 mm

385 mm

scale 1:2 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 56

4.1.2. Benchmark Map

Plastic Pipes (diameter 6mm)

Electrical connection for the power

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 57

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 58

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 59

I. Tube Balloon Latex

Balloon Bicycle valve ring

Plastic tube

Different combinations of materials were tested in order to solve the problem of air losses. The material used to cover the valves were: silicon, latex, shrink tubing and smaller balloons, all in indifferent combinations.

After sealing them, the balloons were measured and left still for 24 hours.

After this time they were measured in order to check which connection was the most convenient. They all resisted inflated quite well, so a simplicity choice was taken. Even though the simple latex one was resisting as well, it was not rigid and stiff enough to keep the balloons inflated also when curving, therefore the connection number II was finally adopted for the prototype.

This latter sealing process is described through the picures in the following page.

Bicycle valve

Balloon

4.2 Further Studies on different connections

Latex (transparent) Shrink tube

II. Tube Latex

Balloon Plastic tube

Bicycle valve ring Bicycle valve

Latex (transparent) Shrink tube

III. Latex

Balloon Plastic tube

Bicycle valve ring Bicycle valve

Latex (transparent)

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 60

IV. Silicon Tube Balloon Latex

a. Shrink Tubing First layer

Balloon Plastic tube

Bicycle valve ring

Silicon gel

Bicycle valve

b. Shrink Tubing First layer

Latex (transparent)

Balloon (transparent)

Shrink tube

c. Shrink Tubing Second layer

V. Silicon Tube Balloon

Balloon Plastic tube

Silicon gel

Bicycle valve ring Bicycle valve

d. Shrink Tubing Second layer Balloon (transparent)

Shrink tube

e. Latex dipping

VI. Silicon Tube Latex

Balloon Plastic tube

Silicon gel

Bicycle valve ring Bicycle valve

f. Latex dipping

Latex (transparent) Shrink tube

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 61

p -10

p -9

p -10

p -9

p -7

4.3. Static Prototype

p -7

p1

p1 p3

p -5

p -3

p3

p -5

p -3

p5

p5

p7

p7 p -3 p1

p3 p5

p -5 p7 p -7

p -9

p -10

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 62

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 63

5. ARCHITECTURAL DEVELOPMENT

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 64

Position 9 Position 8

5.1. Studies on the System’s Position 7

5.1.1. Development I

Position 6

Position 5 LEGENDA Position 4

Position 3

Position 2

Position 1 Position 2 Position 3 Position 4 Position 5 Position 6 Position 7 Position 8 Position 9

Position 1

Position 2

Position 3

Position 4

Position 5

Position 6

Position 7

Position 8 Position 9

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 65

Side View

Front View

LEGENDA Position 1 Position 2 Position 3 Position 4 Position 5 Position 6 Position 7 Position 8 Position 9 Top View

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 66

Position 9 Position 8

Single Column Development Position 7 Side View

Front View Position 6

Position 5

Position 4

Position 3

Position 2

Position 1

Top View

Position 2

Position 3 Position 4

Position 5

Position 6

Position 7

Position 8 Position 9

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 67

5.1.2. Development II

LEGENDA Position 1 Position 2 Position 3 Position 4 Position 5 Position 6

Position 1

Position 2 Position 6

Position 3 Position 5 Position 4

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 68

Top View

LEGENDA Position 1 Position 2 Position 3 Position 4 Position 5 Position 6

Front View

Side View

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 69

5.1.3. Development III

Position 4 Position 3 Position 5

Position 2

Position 1

LEGENDA Position 1 Position 2 Position 3 Position 4 Position 5

Position 2

Position 3

Position 5

Position 1

Position 1

Position 2

Position 4 Position 2 Position 5

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 70

Top View

LEGENDA Position 1 Position 2 Position 3 Position 4 Position 5 Position 6

Front View

Side View

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 71

5.2. Branching studies

By studying the possibilities of the system it clearly appears how the system can potentially branch. After accurate measurements of a small proliferation it results clear that the branching angle (23째) is not depending on the position of the components and therefore can be taken as constant while considering a 3D development.

This branching characteristic allows the system to have more complex sections and curved lines arriving directly on the ground plan and let the possibility of better profiting of the components peculiarities while defining an architectural application.

23째

0째

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 72

5.3 Further measurements and no-air prototype strategy

Taking measurement based on pumped air time/amount was creating some precision problems during the studies of shape, volumes and components over the time. Indeed some external factors, such as the atmosphere pressure, were interfering with the possibility of maintaining the components shape still during the studies. We therefore decided to take some more measurements and cut out of the same material of the components 9 different strips in order to take the components in still positions (from 0 to 9) even without balloons. In this way the model was demonstrating a higher scientific validity and accuracy.

After studying the different configurations and defined the final one, the strips can be substituted by the balloons.

22.9 mm 22.9 mm

19.8 mm 24.5 mm 24.2 mm 22.3 mm 22.5 mm 24.8 mm 27.0 mm 17.7 mm Position 0

22.9 mm

Position 1

22.9 mm

Position 2

Position 0 Average distance = 22.9 mm

Position 3

22.9 mm

Position 4

22.9 mm

Position 5 20.8 mm 21.1 mm 25.0 mm 20.8 mm 25.6 mm 27.9 mm 17.6 mm 26.2 mm

22.9 mm

Position 6

22.9 mm

Position 7

Position 0 Position 8

21.0 mm 22.9 mm

21.0 mm

21.9 mm 21.8 mm 24.0 mm 25.3 23.9 mm 23.1 mm mm

23.8

18.4 mm mm

18.4 mm

21.0 mm Position 1, Top Average distance = 23.4 mm

21.0 mm

5 22 .

m 28.0 mm

.4 mm m 24

23.9 mm 24.2 mm 25.5 mm

25.8 mm

23.

Position 2, top Average distance = 24.7 mm

21.0 mm 21.0 mm

18.4 mm Position 2, bottom Average distance = 18.4 mm

18.4 mm 19.9 mm 18.6 mm 22.8 mm 18.6 mm 23.0 mm 25.2 mm 15.8 mm 24.3 mm

21.0 mm

m

18.4 mm 18.4 mm

Position 1, Bottom Average distance = 21.0 mm

6m

18.4 mm 17

6.0 m m 1 .8 m

1 mm m 18.

17.6 mm 19.0 mm 21.9 m m

12.7 m m

20.2

mm

18.4 mm

21.0 mm Position 1, bottom

Position 2, bottom HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 73

m 21.8 mm 23.2 m 3.4 mm 21.9 m m 24.6 mm 2 mm 2 0 .

4 2 1.3 m m m 8m .

1 2

18.0 mm 18.0 mm

14.8 mm 14.8 mm

2

m 9.9

m

2

5.0 mm 25.4 mm 26.3 mm mm 2 24.9 31.2 m mm m 7.5

27 .1 m

m

14.8 mm 18.0 mm

14.8 mm Position 3, top Average distance = 22.8 mm

18.0 mm 18.0 mm

Position 6, top Average distance = 27.2 mm

14.8 mm 14.8 mm

m

7.8

16.3 mm 18.5 mm

14.8 mm 14.8 mm

Position6, bottom Average distance = 14.8 mm

Position 6, bottom

m

m

17 .

5

m

Position 3, bottom Average distance = 18.0 mm

18 .0 m 10 .8 m mm 11.1 mm

18.0 mm

m 19.0 mm 18.8 mm 18.9 mm 0.9 m 18.8 m 2 m mm 2 15.

1

mm .6 17 mm .6 17 mm 8.0

18.0 mm

18.0 mm Position 3, bottom

13.2 mm

17.1 mm

mm .9 23

2

m 8.8

m

m 25.0

9 mm 25.0 mm 26.3 m m 23. m

30.5

mm

28 .3

m

m

13.2 mm 13.2 mm

17.1 mm

Position 4, top Average distance = 24.7 mm

17.1 mm

13.2 mm

Position 7, top Average distance = 26.4 mm

13.2 mm

m mm

Position 7, bottom Average distance = 13.2 mm

7.6

.7 m m m

6m

16 m

18.1

18.

0 13 mm .4 m m

6

mm m m

m

m

mm

.8

17.1 mm

6.

13.2 mm

.2

13.5

15

17.1 mm

13.2 mm

16

Position 4, bottom Average distance = 17.1 mm

9.3 mm 18.1 mm 18.6 m 19.7.0 mm 1 m

16.1

17.1 mm

mm

13.2 mm

12.

17.1 mm

m 23.2 mm 23.8 mm 23.5 mm 23.9 m 25.9 m mm 5 m 2 .

7 2 6.0 m m m m 0 .

24

18.5 mm

17.1 mm

Position 7, bottom

Position 4, bottom

m

23 .8 m

m

16.5 mm 16.5 mm

13.9 mm

16.5 mm

13.9 mm Position 5, top Average distance = 25.5 mm

16.5 mm

Position 5, bottom Average distance = 16.5 mm

m

m

13.9 mm

m

13.9 mm

mm

1m

18.5

7.

14

Position 5, bottom

29 .3

Position 8, top Average distance = 27.2 mm

13.9 mm

13.9 mm

16.5 mm

30.7 mm

13.9 mm

mm 16.9 m m .2

16.5 mm

mm

24.6 mm 25.6 mm 27.2 mm

13.9 mm

17.6 mm 19.5 mm

20.

9m m 13 .4 m 15 m .0 m m

18.0 mm mm m m

.6

16.5 mm

17.1

10

16.5 mm

mm .5 4 2

.5 30

mm

25.3

14.6 8.8 mm m m

28.6 m

m

24.1mm 23.7 mm m 23.8 mm 25.3 mm

15.3 m

27.0 m

16.0 mm

m 4m 27 .

Position 8, bottom Average distance = 13.9 mm

Position 8, bottom HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 74

5.3.1. Final measurements

The previous measurements gave some problems in efining the proliferaion on 3D. Indeed the components were behaving differently in the reality and in the virtual environment.

We therefore made 4 movies while using the dynamic prototype. A movie snapshot was taken when we turned on the pumps. The other movie snapshot was taken at the moment that the component could not curve any further, thus the maximum position. By taking the change in time between the different shots we got the average inflation time.

The average curves of the 4 maximum positions led us to define the maximum position. From there on we determine a total of 10 positions (minimum = totally flat, maximum = maximum curvature).

1

min position 1

min position 3

min position 2

min position 4

00:05:24

00:04:01

00:03:15

00:04:08

00:36:20

00:36:20

00:34:22

00:39:10

max position

max position 2

max position 3

max position 4

Time to inflate = 00:30:96 sec.

Time to inflate = 00:32:19 sec.

Time to inflate = 00:31:07 sec.

Time to inflate = 00:35:02 sec.

Average time to inflate = 00:32:31 sec

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 75

After defining the minimum and maximum positions by using the snapshots taken from the movies, we divided the space in between neatly and came up with a total of 10 positions. By measuring the curvature of these 10 positions we defined the length of 10 different stripes, to keep the component in position, as if they were inflated.

p9 p8 p7 p6 p5 p4 p3 p2 p1 p0

p0 p1 p2 p3 p4 p5 p6 p7 p8 p9

scale 1 : 1

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 76

23,74 mm

189,88 mm

23,74 mm

23,74 mm

23,74 mm Position 0 Average distance between ribs = 23,74 mm

23,74 mm 24,54 mm 23,74 mm

196,35 mm

24,54 mm

23,74 mm

24,54 mm

23,74 mm Position 0, top Scale = 1:2

Position 1 Average distance between ribs = 24,54 mm

24,54 mm

24,54 mm

24,54 mm

24,54 mm 25,37 mm

24,54 mm

25,37 mm 202,98 mm

25,37 mm

Position 1, top Scale = 1:2

25,37 mm 25,37 mm

Position 2 Average distance between ribs = 25,37 mm

25,37 mm 25,37 mm 25,37 mm

Position 2, top Scale = 1:2

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 77

209,58 mm 26,20 mm 26,20 mm 26,20 mm Position 3 Average distance between ribs = 26,20 mm

26,20 mm 26,20 mm

27,00 mm

26,20 mm 215,93 mm

26,20 mm 26,20 mm

27,00 mm 27,00 mm

Position 3, top Scale = 1:2

Position 4 Average distance between ribs = 27,00 mm

27,00 mm 27,00 mm 27,00 mm 27,00 mm

27,82 mm

27,00 mm

27,82 mm 222,58 mm

Position 4, top Scale = 1:2

27,82 mm

27,82 mm

Position 5 Average distance between ribs = 27,82 mm

27,82 mm

27,82 mm

27,82 mm

27,82 mm

Position 5, top Scale = 1:2

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 78

28,68 mm

30,22 mm 241,72 mm

229,46 mm

28,68 mm

30,22 mm

28,68 mm

30,22 mm

28,68 mm

Position 6 Average distance between ribs = 28,68 mm

28,68 mm

30,22 mm

30,22 mm

28,68 mm

30,22 mm Position 6, top Scale = 1:2

30,22 mm

Position 8, top Scale = 1:2

31,20 mm

29,47 mm

235,78 mm

29,47 mm

31,20 mm

29,47 mm

31,20 mm

Position 7 Average distance between ribs = 29,47 mm

29,47 mm

31,20 mm

29,47 mm

31,20 mm

29,47 mm

31,20 mm

Position 6, top Scale = 1:2

249,58 mm

31,20 mm

29,47 mm

29,47 mm

Position 8 Average distance between ribs = 30,22 mm

30,22 mm

28,68 mm

28,68 mm

Location detalis

Position 9 Average distance between ribs = 31,20 mm

31,20 mm Position 9, top Scale = 1:2 HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 79

6. PARAMETRIC MODEL

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 80

6.1. Grasshopper development Setting position

Balloon size function

Wist Pulling vectors Spine curve geometry

Connection Points

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 81

Functions for axis arcs

Setting component spines Component geometry

Connection points

Setting zero position - infinite raius

Setting position

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 82

setting position

functions for axis arcs

setting component spines

component geometry

connection points

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 83

setting surface shaped

ivision to component lengths

setting variable affect

setting the curves

setting connection points

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 84

defining lines of curves to make the surface

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 85

7. FINAL COMPONENT

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 86

7.1. Limits in the previous component and new studies

Even though the components demonstrated strength and structure properties during the different studies performed, when applying them to a bigger scale and to a bigger structure, the system happened to collapse.

The main reasons for these collapses were the lateral connections. Indeed when working on small proliferations they were demonstrating to be able to support the system, but the exponential increasing of forces and stresses due to the enlargement of the proliferation showed how a lateral connection (even if multiple) could not work in a 1:1 scale situation. In creating this problem the stiffness of the connection itself contributed a lot, indeed in order to make a double connection without having hinges the dimension of it double compared to the previous single ones.

These problems made it not feasible for an architectural proposal. The only possibility to make the system work in this situation would have been using high performances fibres composites, that, in a big scale, would consist in a too high money expense.

The first hypothesis in solving the problem was to change the connections, but they were the last result of a long series of studies and tests and there was no way to change them again for a better result.

Indeed the previous smaller ones were not allowing a drastic curvature, while the flat ones tried at the beginning were creating problems in creating double curvature.

The final decision was therefore to change the component itself.

The first flat connections system was not allowing a double balloons and curvature system

Single side connections were creating hinges and therefore not assuring stability to the system

Double side connections were too stiff to assure flexibility without breaking in big proliferations HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 87

7.2. Shape studies on new mesh configurations 7.2.1. Configuration a

Configuration a Position 1

Position 2

b

a

a

b

b

a

a

b

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 88

Upper layer curving in one direction. The terminations of the balloons tend to the ground.

7.2.2. Proliferation Configuration a Mesh curving with the balloons.

Upper layer curving in another direction. The terminations of the balloons tend to the sky

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 89

Configuration b Position 1

Body Component b

a

a

7.2.3. Configuration b

b

Single Head Component

c

c

Double Head Component

d

c d

c

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 90

Flat connections system

90째 crossing connections

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 91

7.3. Proliferative System 8.3.1. Basic Mesh

X axis of curvature

Z axis of curvature

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 92

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Top X axis of curvature

7.3.2. Curvature Change

Top Z axis of curvature

Bottom X axis of curvature

Bottom Z axis of curvature

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 94

Components’ Positions

Due to the higher stiffness of the new mesh, the system requires only two balloons positions: 1 an 2.The measurements were taken following the same strategy of the previous component.

209,58 mm

Position 1 Scale 1:2

229,46 mm

Position 2 Scale 1:2

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 95

8. ARCHITECTURAL PROPOSAL

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 96

8.1. Components and Human Scale

l = 3440,22 mm w = 573,37 mm

l = 3784,24 mm w = 630,71 mm

l = 4162,67 mm w = 693,78 mm

l = 5540,51 mm w = 923,42 mm

l = 4578,93 mm w = 763,16 mm

l = 6094,56 mm w = 1015,76 mm

l = 5036,83 mm w = 839,47 mm

l = 6704,02 mm w = 1117,34 mm

l = 7374,42 mm w = 1229,07 mm

l = 8111,86 mm w = 1351,98 mm

l = 8923,04 mm w = 1487,17 mm

l = 9815,35 mm w = 1635,89 mm

l = 11018 mm w = 1845. 32 mm

l = 12500 mm w = 2093.53

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 97

8.2. Sound studies

sound waves travel in open space

In a enclosed space sound waves will reflect on surfaces and gradually be absorbed. This

like \sphere

could be usefull when getting sounds all across the concert hall.

less sound needs less space A larger sound source produces more volume (dB). It needs more space before the sound wave dies out.

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 98

standard height

8.3 Possible system configurations

small concert hall depth

standard concert hall depth

small stage depth

standard stage depth

As a solo performer there is no reference to play/sing along with. Therefore there needs to be a

Performing in a small ensemble means playing with other musicians, and having a reference to play with. Therefore the reflection above the stage can

lot of reflection above the stage, so the performer can reference to itself. Usually the audience is

be less and more aimed towards the audience in the concert hall. The audiance is usually larger, meaning that sound has to travel farther.

large height

a lot smaller during these events, meaning that the sound is allowed to travel less far.

A full orchestra produces a lot of sound. The musicians are in the middle of all this sound and need hardly any reflected sound. They have enough reference around them.

Full orchestras have large audiences, which means that the concert hall will be in its maximum position. The sound has to travel far, reflecting it might help reaching the end of the hall.

large concert hall depth

large stage depth

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 99

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p

p p p

p

8.4. Urban Planning

1

p

2

15

The chosen area is the empty area in front of the cultural centre, where the old faculty of architecture used to be.

This area it is actually not used and it would perfectly serve the need for a temporary music hall, to be used during events organized from the cultural centre itself (such as the Zommerfestival)

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 100

Bridge for access Second Entrance and terrace

8.5. Site and surroundings Main Entrance for public, facing the Cultural Centre

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 101

Cultural Centre

Main Campus Road

Mekel Park

Site

Canal

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 102

8.6. External Membrane ETFE foil Cladding systems which provides a lightweight, cost effective and geometrically flexible solution with good thermal performance and high transparency.

Isolation from external noises (rain, wind etc.) that otherwise would compromit the performances

ETFE protection on the outside

Balloons Structure on the inside

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 103

8.7. Architectural Proliferation 8.7.1. Top View

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 104

8.8. Urban Impact

Main Stage 13x8 m

444 chairs

bar area

Stage 2 9 x 4m

1:200 Ground plan HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 105

Urban Impact

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REFERENCES [1] R.B. Fuller, (1975). Synergetics: Explorations in the Geometry of Thinking. Scribner, England [2] Brian James Atwell; Paul E. Kriedemann; Colin G. N. Turnbull (1999). Plants in action: adaptation in nature, performance in cultivation. Palgrave Macmillan Australia. pp.

265 [3] Institut fur leichte flacheutragwerke. (1979). IL 19 PNEU: wachsende und sich teilende pneus. Growing and dividing pneus. Institut fur leichte flacheutragwerke. Germany.

[4] www.aaschool.ac.uk

HYPERBODY | Msc1 Design Studio directed by Marco Verde Eng, MArch Y. Israel | L.K.M. Kraan | A. Mela | Performative Proliferations | Pag. 110