WOODBURY_2015F_ARCH_491 /Chatman, Ellsworth & Negrete by Yasushi Ishida

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DaJshey Chatman, William Ellsworth & Eduardo Negrete

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ARCH 491: Studio 5A

Part 1 / Assignment 1: Precedent Research

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

1. Heinz Isler 1.1 Heinz Isler Background

Heinz Isler was born on July 36, 1926 in Zollikon, Zurich, where he a�ended primary school and entered high school in 1930. A�er his gradua�on in 1945, Isler sought a degree in civil engineering from ETH (Swiss Federal Ins�tute of Technology) (Billington and Jameson, 2003). This is where Isler inherited his aesthe�c interest in thin shells from his instructor Pierre Lardy. To this date, engineering does not generally promote the incorpora�on of aesthe�cs or passion into one’s work as an engineer. Instead mathema�cs is looked upon as the main source of crea�on. Thus, when Isler presented his paper “New Shapes for Shells,” ar�st such as Eduardo Torroja, Nicholas Esquillan and Ove Arup, completely opposed his ideas. Isler’s presenta�on described three methods for arriving at thin shell shapes without the use of mathema�cs or computer aided assistance. 1) Freely Shaped HIll 2) Inated Membrane 3) Draped Fabric

Figure 1.

Heinz Isler (Billington and Jameson 2003)

1.2 New Shapes

The rst congress of Interna�onal Associa�on of Shell Structures was held in Madrid 1959. Heinz Isler was invited and presented a revolu�onary essay that consisted of nine images, 40 illustra�ons and under 900 words (Chilton, 2000). A debate grew around this small collec�on of work which brought much interest to the discourse of shell structures. One argument made by Torroja, expressed that crea�ng full size structures based oﬀ of simply scaling the dimensions of small study models not only created problems for construc�on, but also created safety hazard. Isler’s responded explaining that the models were only one step of the overall process in building thin structures. In addi�on he expressed how a mathema�cal background is not the only means for studying new shapes and stressed the importance of “physical analogies” relevant in the inated membrane and draping cloth methods.

Figure 2.

Figure 3.

New Shapes for Shells (Chilton, 2000)

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39 Forms & etc. (Chilton, 2000)

ARCH 491: Studio 5A

Part 1 / Assignment 1: Precedent Research

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

2. Types of ConstrucƟon Methods 2.1 Freely Shaped Hill

Made by molding a hill of earth to the desired form. AŌer molding the hill a thin layer of plaster was poured to take the shape of the hill and harden. Many layers of plaster were added unƟl the thickness of the plaster was deep enough to support the span of the `structure. Once totally dry, the earth would be removed allowing the plaster structure to remain. Heinz Isler believed this method to be the most primiƟve.

Figure 4.

LeŌ: The desired shape is formed before pouring plaster

Right: A pool is made by digging a desired shape into the ground. (Chilton, 2000)

2.1 Inated Membrane

Heinz Isler believed internal pressure of a membrane is equal to the weight of the structure. This is true with small models but inconsistencies arise when the model is scaled to the size of a dwellable structure. The research conducted on the inated membranes structures let to Isler’s next method of creaƟng thin shell structures, The draped fabric method.

Figure 5.

LeŌ: A pillow, the inspiraƟon for Isler’s bubble shells

Right: a pressure membrane model (Chilton, 2000)

2.1 Draped Fabric

Figure 6.

LeŌ: Draping fabric from dened edge points

Right: Using needle technique to obtain accurate measurements (Chilton, 2000)

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ARCH 491: Studio 5A

Part 1 / Assignment 1: Precedent Research

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

3. Draped Fabric Method 3.1 Analysis of Draped Fabric Forces

Isler discovered that the weight of the structure is directly related to the form. Thus, the larger the surface area, the more weight. With more surface area the height of the overall structure is increased adding to the required strength at the contact points. However, if the structure is too tall the contact points will buckle causing the structure to collapse. In the image below, the horizontal stresses (H) are very low because the weight of the structure (G) is equal to the normal force (N) of the system, which allows the enƟre structure to be self supported.

Figure 7.

Draped Fabric Force Diagram

3.2 Analysis of Draped Fabric Forces

AŌer the draped fabric model created and carefully measured for scaling, a glue laminated wood subframe is assembled to allow as smooth concrete cast.

Figure 8.

Draped Fabric ConstrucƟon Process (Chilton, 2012)

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ARCH 491: Studio 5A

Part 1 / Assignment 1: Precedent Research

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

3.3 Draped Fabric Process

A piece of fabric is held by mulƟple anchor points and layed over a surface for support while plaster is poured over the cloth. The support surface is gently lowered away from the cloth allowing gravity to create a natural curve constrained by all the anchor points. The cloth is then held in place unƟl dry and inverted to stand in complete compression.

Figure 9.

Shell undergoing stress simulaƟon (designboom.com)

3.4 TesƟng

AŌer conducƟng extensive experiments, Isler concluded that the draped fabric method was the most accurate. The model shown below is made from reinforced glassber with epoxy to simulate the shell structure. Stresses are later applied on mulƟple points to analyze the structures reacƟon to gravity and tension loads.

Figure 10. Shell undergoing stress simulaƟon (designboom.com)

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ARCH 491: Studio 5A

Part 1 / Assignment 1: Precedent Research

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

4. Isler’s Projects

Motorway Service Sta�on, Dei�ngen, Sud, 1968 Using one framing to cast two iden�cal concrete shells, Isler managed to create a shell structure supported on only three anchor points in contrast to the tradi�onal four, by inser�ng prestressed cables underground to connect the three anchor points. (Right image)

Figure 11. Motorway Service Sta�on (Chriusha, 2009)

Kilcher Factory, Recherswil, Solothurn, 1965 Assigned a 20 x 20 square plan, Isler combines the draped fabric and inated membrane, to op�mize the thinness of the anchor points, thus resul�ng in a 90 mm (3.54 inch) thick shell. (Le� image)

Figure 12. Kilcher Factory (Chriusha, 2009)

Wyss Garden Centre, Solothurn, 1962 Holding the rights as one of Isler’s rst realized projects using the draped fabric method. In this project Isler experiments with a�aching adjacent shells to the main structure at a 45 degree angle in order to remove the need of edge s�ﬀening. (Right image)

Figure 13. Wyss Garden Center (Chriusha, 2009)

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

5. Isler PrimiƟve Studies (Plaster)

Through analyzing the legacy of Heinz Isler and his fascinaƟon with shell structures, our group decided to conƟnue the exploraƟon of Isler works through his inversed cloth hanging method. The basic mindset behind the hanging method covers a material of choice in plaster or resin, then allows the fabric to dry under its own self weight. As a result the material is forced into pure compression once inversed. Thus, the main focus of our group quesƟoned the advancement of technology both now in the present and then during Isler’s period of exploraƟon.

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

6. FacilitaƟng Process (Jig FabricaƟon) A�er producing several plaster shells, and losing some of them along the process, we concluded that a much more eﬀec�ve way to produce these shells had to be resolved. The idea of crea�ng a jig surfaced, by crea�ng such jig the overall process of developing these structures would be more controled and require only one person to reproduce.

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

7. Jig In Use

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Plaster Models

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Plaster Models

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Plaster Models

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Plaster Models

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Plaster Models

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

8. Resin Models Another form of experimentaƟon conducted was with resin. This process mirrors the process with resin, but since the curaƟng process takes much longer, no jig was necessarilly required. The shapes were simply laid at on a surface while the resin was applied evenly by hand. We then aŌer simply hung the fabric and waited for the resin to harden.

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ARCH 491: Studio 5A

Part 1 / Assignment 2: Physical Form Finding Experiments

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

9. PETG Models

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

10. Islerâ&#x20AC;&#x2122;s 39 etc.

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

10. 39 etc. Digital InterpretaĆ&#x;on

etc.

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

11. Force Analysis

Prototype: 1

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10 x 10

/ƚĞƌĂƟŽŶ WƌŽĐĞƐƐ

H: 20 S: 150

H: 10 S: 200

H: 0 S: 100

H: 0 S: 75

H: 0 S: 50

H: 0 S: 25

H: 20 S: 150

H: 10 S: 200

H: 0 S: 100

H: 0 S: 75

H: 0 S: 50

H: 0 S: 25

Prototype: 2

/ƚĞƌĂƟŽŶ WƌŽĐĞƐƐ

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

11. Force Analysis

WƌŽƚŽƚǇƉĞ͗ ϯ

H - Height ^ Ͳ ^ƟīŶĞƐƐ Ύ ŝŵĞŶƐŝŽŶƐ ĂƌĞ ŝŶ ĨĞĞƚ K^ Ͳ KīƐĞƚ Ύ ŝŵĞŶƐŝŽŶƐ ĂƌĞ ŝŶ ĨĞĞƚ

13.5 x 12 x 13.5

/ƚĞƌĂƟŽŶ WƌŽĐĞƐƐ /

H: 3;0;6 S: 100

H: 3;0;3 S: 100

H: 3;1;3 S: 100

H: 3;2;3 S: 100

H: 1;3;3 S: 100

H: 2;4;2 S: 100

H: 1;5;1 S: 100

H: 0;6;0 S: 100

H: 20 S: 100 OS: 0

H: 10 S: 200 OS: 2

H: 10 S: 100 OS: 4

H: 0 S: 100 OS: 6

H: 0 S: 100 OS: 8

H: 0 S: 150 OS: 8

H: 0 S: 200 OS: 8

H: 0 S: 250 OS: 8

/ƚĞƌĂƟŽŶ WƌŽĐĞƐƐ //

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

11. Force Analysis

Prototype: 3

H - Height ^ Ͳ ^ƟīŶĞƐƐ & Ͳ &ŽƌĐĞ 'ƌŽƵƉ Ύ ŝŵĞŶƐŝŽŶƐ ĂƌĞ ŝŶ ĨĞĞƚ

/ƚĞƌĂƟŽŶ WƌŽĐĞƐƐ

H: 10 S: 100 &͗ ǀĞŶ

H: 10 S: 100 F: Odd

H: 20 S: 100 F: C

H: 10 S: 100 F: Odd

H: 20 S: 100 F: Odd

H: 20; 10 S: 100 &͗ ǀĞŶ͖ KĚĚ

H: 20 S: 100 &͗ ǀĞŶ

H: 5;10;15;20 S: 100 &͗ ǀĞŶ͖ KĚĚ

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

12. Digital exploraĆ&#x;on

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

12. Digital exploraĆ&#x;on

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

12. Digital exploraĆ&#x;on

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

12. Digital exploraĆ&#x;on

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

13. Catenary ExploraĆ&#x;on

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

14. Catenary Weaving ExploraƟon 1 | Plan and ElevaƟon

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Catenary Weaving ExploraƟon 2 | Plan and ElevaƟon

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ARCH 491: Studio 5A

Part 2 / Assignment 1: Digital Analysis

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

18. Catenary Weaving ExploraƟon 3 | Plan and ElevaƟon

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

15. Hyperbolic Paraboloid ExploraƟon Proceeding into the next phase of our explora�on, our group decided to experiment with a hyperbolic paraboloid, since it allowed us to test a form created based oﬀ of constrained framework. In addi�on, this test trial gave us the ability to experiment with another one of Isler’s non-tradi�onal design methods.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

15. Hyperbolic Paraboloid ExploraƟon AŌer researching some projects using GFRC, the group decided to create a trial cast using the hyperbolic paraboloid. This trial cast allowed the group to understand potenƟal framework need to support the center and anchor points.

1'-6 3/4"

29°

° 61 "

61 ° 8" 2'-

1'11 1/2 "

1'-

" 1/2 11

61 °

1'-2 1/2"

° 61

61 °

29°

2'8

29°

° 61

29°

2'-4 3/4"

2'-4"

" 3/4 10

61 °

° 61 29°

29°

10 3/4 "

2'-6"

2'-7 1/4"

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

15. Hyperbolic Paraboloid ExploraƟon Following the direcƟons from a video take by our instructor during a GFRC workshop, our group precisely measured the components of the mixture needed to create the thin concrete structures our design intent desired.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

15. Hyperbolic Paraboloid ExploraƟon During the process of casƟng the hyperbolic shape, we found that due to the use of material that we used, the concrete began to make the material pillow. Thus, we ended up with a textured belly, which aŌer drying we inverted the form, even though that was not the iniƟal design intent. `

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

15. Hyperbolic Paraboloid ExploraƟon AŌer release from the framework, we found the test with GFRC was a success by means of withstanding the weight of a human with only a thickness of about one inch.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon AŌer concluding our test results, recreaƟng a jig which could accommodate the weight of the GFRC at a large scale was the next challenge which our group was faced with. Thus, we developed a 6’ x 6’ square jig which would simulate the same process as the previous jig, except with the addiƟon of a pulley system to accommodate the weight and maintain a evenly distribuƟon of the concrete across the surface.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon A�er producing several plaster shells, and losing some of them along the process, we concluded that a much more eﬀec�ve way to produce these shells had to be resolved. The idea of crea�ng a jig surfaced, by crea�ng such jig the overall process of developing these structures would be more controled and require only one person to reproduce.

286

ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon As our rst large scale concrete cast, we used spandex as choice of fabric to drape, and applied layers of concrete using a concrete spray gun. In the previous explora�ons we have conducted, spandex appeared to pose as the best op�on, however, during this trial the spandex was too exible and curated faster than expected. Thus, cracks appeared which ul�mately made the structure collapse. However, in the second trial case we used a diﬀerent material, which withstood the weight of the previous cast structure.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon For the second trial, we used a s�ﬀer material which allowed us to apply more concrete to the material, and delay the concrete curring �me when using the spray gun. As a result, we accomplished the draped fabric method, with less than two inches of thickness.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon In the third draping trial, our group decided to test a triangular shape where we cut out holes and pinched the fabric to see how far we could push the limits of the draped fabric method. In addiƟon, hot glued wooden dowels were addited into the fabric in order to reduce tearing at the anchor points, which we observed from the second casƟng trial.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon In terms of concrete applicaƟon, we experimented with applying a face coat without ber glass in order to create a base foundaƟon. When applying the addiƟonal layers of concrete hand techniques were used instead of the spray gun, due to constant clogging of the sprayer.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

dowels.

The take down of this trial required demoliƟon of the fabric as a result of hot gluing the anchor points to wooden

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon A�er take down, we observed that the pinches created in the material did not ll up with concrete as expected, however s�ll created a unique and s�ﬀening element to the structure.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon For further exploraƟon with this triangular form in aƩempt to perfect the shape, we digital assistance to recreate the third draping trial to analysis and understand the forces needed to further stabilize the structure.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon In the last and nal draped fabric trial, we chose to re-visit the use of spandex as a choice of material. To enhance the use of spandex we suspended paracord under the fabric in order to control the distribuƟon of the concrete and the amount of sag the structure created.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

16. Draped Fabric InstallaƟon

17. ObservaƟons 1. Draped Fabric Method: In general the choice of material, the desired shape and the anchor points are the key elements to successfully create a shell structure using this method. 2. Shape: The shell outcome comes from a triangular shape, which reduces the amount of weak points throughout the shell. 3. Fabric: In terms of fabric, we found that using any fabric can execute this method however, addiƟonal suspension underneath the material might be necessary. 4. Anchor Points: The anchor points are the main factors which determine whether or not the structure will succeed or not. For instance, in the second trial we were able to cast the structure, however, aŌer inverƟng the shell the anchor points buckled causing the legs to break. 5. ApplicaƟon of Concrete: AŌer each trial, we observed that using the spray gun with this method can help assist with this method only with wet or exible fabric, as well as concrete without berglass. UnintenƟonally, we found that using painter bushes allowed us to evenly distribute the concrete without peeling from the fabric.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

18. Proposed Site/ InstallaƟon Based oﬀ of our observa�ons, we nd that the current construc�on method does not have the ability to create large scale structures. Thus, the direc�onality for our proposed project is based around crea�ng small shade structures or shells which can be climbed by children in a recrea�onal space.

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ARCH 491: Studio 5A

Part 3 / Assignment 1: Intro to Digital Process / Workď&#x192;&#x;ow Development

Instructor: Yasushi Ishida

Subject: Heinz Isler

Students: William Ellsworth & DaJshey Chatman & Eduardo Negrete

19. Modern GFRC InspiraĆ&#x;on Today in the modern world, GFRC is mainly used to form concrete walls, panels and columns, which we intend to push those limits towards the use of outdoor furniture as a new means for surface use.

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