WORKSHOP DESCRIPTION: Through a series of physical model experimentations using plaster and fabric stitching, we were trying to explore the relationship between geometry and material behaviour. Getting acquanted with the fabrication and familiarizing with the plaster behaviour was the at the main aim in the first phase of the workshop. We later experimented with the folds that were ocurred several times in the physical models, which caused the models to become structurally weak. The logic behind the design was to create the pattern stitching in a way that will strengthen the folds, through directing the plaster through those edges. In the series of final models we created a prototype. Using Rhino and Maya, the module started from the basic form which is plane. The plane was bent to create the fold and replicated to create the structure. (82, M.arch Architecture and Urbanism Course Guide) The model was simulated on rhino to identify the expected water flow, and hence the pattern stitching logic. Furthermore, the model was simulated on maya to predict he correlation between the stitching pattern and plaster behaviour.
EXPERIMENTATION TIMELINE:
PHASE I
Pattern & Gravity Experimentation Experiment 1 &2
PHASE II
Experimenting Folds Experiment 3 &4
PHASE
E III The Fold as a Module Experiment 5
PHASE IV
Articulating the Edge Experiment 6The Y- Fold Experiment 7The Y- Column
I..
EXPERIMENT
PATTERN & GRAVITY EXPERIMENTATION
EXPERIMENT 1: PATTERN EXPERIMENTATION PATTERN PROTOTYPE:
BEFORE CAST:
The “wrinkle” was the first patterning experimentation attempted. The main aim was to understand the plaster behaviour with the pinching technique of stitching, which we called the wrinkle. The experiment was done on a 2-D piece of lycra.
EXPERIMENT 2: GRAVITY EXPERIMENTATION PATTERN PROTOTYPE:
BEFORE CAST:
The second model experimented with the radial pattern idea and the effect that such pattern will have with gravity when pouring the plaster. The physical parameters that create a constraint include the thread that ties the fabric to the wooden frame, the pouring points of plaster, and the stitching type and pattern.
AFTER CAST:
This image shows the detail of stitching which used the pinch technique to create a wrinkle on each side of the fabric.
The result of the cast showed an intricate pattern which was created despite the simplicity of the pattern. It was also identified that the different hanging tension points effec the final shape of the model.
AFTER CAST:
The detail of the radial pattern is shown. In this model, the wrinkle technique was also used. However, the spacing at which the wrinkle was made to allow the plaster to follow through.
The model after cast looked like a shell structure and the wrinkle stitching created pressure points on the surface and evenly distributed the plaster in the whole piece of frabric as shown. WW
EXPERIMENT
II..
EXPERIMENTING FOLDS
EXPERIMENT 3. PROCESS:
I.
PAPER FOLDS: • The main aim of this experiment was to start applying folds to the original element used for folds which is paper. Thiis step was important to understant the behaviour of the fold before transferring it to the fabric. • After creating a three-fold sheet, pressure points were added to investigate the effect of plaster compression on the folds.
II.
FABRIC FOLDS: • The fold positions were marked on the fabric and the pattern started to emerge from the fold. • The fabric was then folded similar to the paper fold done above. • The images on the left show the sequence of the folds that were created, beginning with one piece of fabric and ending with the 3D piece that is attached at the pressure points.
III.
PATTERN LAYOUT:
The pattern was designed to strengthen the pressure points which are created. Those pressure points are connected together to create the folds.
IV. 1.
Pouring Point
The plaster flow was mapped to show the expected deformation based on the pattern designed. The fabric was designed with one pouring point as shown in the diagram.
3D PLASTER FLOW ANALYSIS: The plaster flow was mapped in a 3D manner to show how different planes will be created from originally just one plane of fabric. The five planes that were expected to be formed after the cast are shown in the images and the sequence that the plaster will flow in these planes was also studied.
• After digitally analysing the plaster flow the model was casted and analyzed. • The folds were created as expected, However, the edges were not strong enough because the stitching pattern did not correspond to the folds. • It was concluded that the stitching pattern should be designed in a way to strengthen the points of folding (edges). This will help make use of the folds as a structural element, strengthening them and transforming them from the weakest points in the model to the points with most strength.
FOLD ANALYSIS:
BEFORE CASTING
AFTER CASTING
II..
EXPERIMENT
EXPERIMENTING FOLDS
EXPERIMENT III. THE THREE-FOLDS MODEL PROCESS: I.
MAYA MODELLING: • The first step in this model was a digital Maya model attempt. • The main aim was to create a three folds model using the basic shape of a cube. • The imagea show the porgress of the model from simple cube forms to the folded design outcome.
II. PAPER FOLDING: • The first step in this model was a digital Maya model attempt. • The main aim was to create a three folds model using the basic shape of a cube. • The imagea show the porgress of the model from simple cube forms to the folded design outcome.
III. PATTERN DESIGN:
Upper Stitching Pattern
Side Stitching Pattern
Bottom Stitching Pattern
BEFORE CAST:
AFTER CAST:
• The model had various folds, including horizontal and vertical as shown in the images below. The horizonal folds caused the model to become weaker.
• The model failed in the shift between the horizontal and vertical planes • The pattern did not yet correspond to the folds and therefore did not strengthen those folds. • The model was considered a failed attempt, since the shape of the model just shifted from being 2D to 3D, and therefore the approach had to be changed.
III.. EXPERIMENT
THE FOLD AS A MODULE
EDGE INSPIRATIONS
MODULE GENERATION:
• In this model a prototype/module was generated from a plane. the plane was divided into a set of traingles and the triangles were folded to created the edges and pressure points. • The pattern this time was designed to strengthen the edges by allowing the plaster to flow towards the edges rather than away from it. • The technique was to create parallel stitching to the edges and to avoid stitching directly on the edges.
BEFORE CASTING:
Front View • The following images show the peice of fabric on the wooden frame. The hanging points are shown clearly in the side view. The fabric is at tension and behaves like the folded piece of paper that was initially designed.
AFTER CASTING: Front View • After casting, the model behaved differently, and the edges become tthe strongest element in the model, since the plaster flow was directed towards the edges. • Gravity allowed the plaster to flow downwards and therefore strengthening the bottom folds more than the top folds. • The hanging points were not symmetrical and therefore created an unstable base.
Side View
Back View
Side View
Back View
AFTER CASTING ANALYSIS:
• After casting, the edges have a defined shape as shown in the diagram. The original fold module is maintained and the wrinkles created show an interesting form. therefore, the following was chosen to develop further and replicate the module to identify the behaviour of plaster as the model becomes bigger and the stitching pattern becomes more dense. • It was also important to make the model structurally stable.
STITCHING PATTERNS IN RELATION TO PLASTER FLOW:
Edge Analysis
Parallel Wrinkle
Edge Analysis
Parallel Wrinkle Slanted Wrinkle
The wrinkling technique allows the plaster to flow parallel to the wrinkle.
Edge Analysis
Parallel Wrinkle Slanted Wrinkle Patterned Stitching
Slanted Wrinkle Patterned Stitching
The slanted wrinkle creates a more dynamic variation due to the cross pathing of plaster in angles rather than just parallel and horizontal .
Patterned Stitching
The Stitching technique blocks plaster flow allowing us to control plaster flow more.
It also allows the plaster to flow vertical.
This creates controlled expansion of the fabric between the wrinkle strengthening the edge.
The plaster flows through at an angle towards the edges.
This creates an expansion in the centre of the 4 slanted stitches.
This detail demonstrates the parallel stitching method and its effect with plaster.
This detail demonstrates how the slanted wrinked creates a very complex and strong form with plaster that is very unique from the front and the back views.
The details show how the edge looks more defined with the technique of complete stitching.
This also means it could be controlled at an angle.
This could allow direct flow to the edges making the plaster harden and strengthen the edge.
TOPOLOGICAL VARIATIONS Generate different folded geometry from a sheet of fabric The following diagrams, show the different variations that could be made out of the designed module.
Symmetry
Radial Symmetry
12-side column
16-side column
IV.. EXPERIMENT
ARTICULATING THE EDGE
The Y-fold is an experiment that aims to create complex patterns on the edge. This is to test the idea of “Edge Articulation�. It was designed with a larger scale than the previous experiments, to create more intricate pattern and to be able to get a true test on how the gravity will affect the edges with the plaster flow. The project consists of 16 pieces of fabric that are stitched together to create two panels. Firstly, each 4 pieces are stitched together to create the the first panel, which is double sided. The the 2 panels are attached together to create the designed Y-FOLD.
Y- FOLD PROCESS:
I.
MODULE TO MODEL:
• The module is first generated from a flat sheet, which is folded. The fold module is then duplicated and multiplied to create a standing model. • The model is then bended (deformed) in order to act as compression on the folded points and as tension on the edges. •
The model is then mirrored to test the legibility of it being a structural model when
casted.
Flat Sheet Flat Sheet
Fold Fold
Multiply Multiply
Deform Deform
Duplicate Duplicate
Duplicate Duplicate
Mirror Mirror
• The model was designed digitally first as shown. The design consists of 2 mirrored panels that will stand as a structural model. • The challenge was to breakdown this model into smaller sheets for fabrication and to create conections between the two panels to allow the ease of plaster flow. • The images below show the perspectives, side view and top view of the designed model.
Perspective View
Top View
Perspective View
Top View
Perspective View
Sideview
II.
WATERFLOW SIMULATION:
Simulated Perspective View
Simulated Top View
• The water flow was simulated in the model to identify the plaster flow and hence design the pressure points and stitching accordingly. • The images show the simulated and expected plaster flow in perspective and in the top view.
Waterflow Analysis
Panels’ Waterflow
•
The sheets of the model were broken down into four sheets to ease the fabrication.
•
The water flow analysis was made on those sheets as well to ease the pattern design.
III.
FABRICATION PROCESS
Connection/Stitches between the panels.
Unrolled Sheets
• The sheets were broken down in a way to ensure that each corner will attach to the other corner in the following panel (as marked in red). • This will allow a continuous from first to last panel.
Fabric Before Pattern Stitching • The fabric demonstrates the 4 sheets when connected at the stitching points
Fabric Before After Stitching •
The fabric is then stitched with the pattern that is designed.W
IV.
PATTERN DESIGN
Waterflow AnalysisPanels’ Grid
• The grid was designed perpindicular to the water flow analysis to allow the edges to be stronger and to allow the plaster to thicken the edges and strengthen the structure.
Solid Stitchings
• As a result, the solid stitching was designed to reduces the gravity effect on plaster flow and in return directing the plaster to the edges/creases.
Restraint Pinches Waterflow Analysis
• The restrained pinches are designed to increase the density of stitching at the bottom and decrease it at the top. The plaster is expected to flow with gravity and therefore the aim was to reduce the bulking of plaster at the bottom of the model.
Edge Wrinkles
• The wrinkles enhances the pattern on the edge and directs the flow perpindicular to the edge direction, strengthening the edge.
FABRICATION PROCESS- BEFORE CAST: • The fabric was assembled in the frame by tensioning all the compression points ot the wooden frame. •
This creates the edges in tension.
• The 2 pieces of fabric were assembled at the same time to ensure symmetry. •
The symmetry ensures structural strength.
Streched Fabric Front View
FABRICATION PROCESS:
Streched Fabric Side View
AFTER CAST:
Streched Fabric Details
Casted Sideview
Final Model- After Cast • The model was considered successful because the edges stood out and the folds became more of defined creases. The plaster flew with the gravity and created a variation in the design of the model through the different models.
AFTER CAST ANALYSIS:
• The shape of the folds were emphasized after casting and the pattern design allowed the edges to achieve the structural strength and balance.
PATTERNING DETAILS:
The following diagrams show details of how the pattern design was before cast and how it was transferred after cast.
Y-FOLD MODEL SHOTS:
PROBLEMS:
• The model was very plaster-dense in the bottom due to gravity and as a result the pattern didn’t show because the openings in the folds were a few.
• The two mirrored pieces of fabric were not connected at all the points using fabric. Hence, during fabrication the points were connected using wire. Therefore, it was decided in the next experiment that it is important to create fabric pieces that will connect the different panels together without the use of wire. This in return will allow the continuous flow of plaster to the different pieces of fabric.
EXPERIMENT
IV..
ARTICULATING THE EDGE
The Y-column experiments working with 3 panels. The 3 panels are connected to each other through fabric designed. It is an evolution to the previous model, trying to improve the problems faced in the previous model. Each panel consists of 4 Sheets of fabric that are connected together to create to create the model. The panels are folded to connected through the joints. The model is stretched more than the previous to allow further experimentation on the gravity. The panel sizes vary to correspond to the density..
COLUMN
AXONOMETRIC DIAGRAM:
• This experiment aims to create a column, using 3 panels that are connected with joints. • Those 3 panels have less horizontal folds in order to allow more openings in the column. • Each panel consists of 4 double-faced pieces of fabric that are stitched together. • The panels are then connected with the fabric joints that aim to avoid using threads to connect the column together and to ease the plaster flow.
A
B
A Folding Panels
B
C D
C
D
E Fabric connection
F
G
WATER FLOW AND DENSITY SIMULATION
Perspective View
PERSPECTIVE VIEW
Side View
Top View
PATTERN DESIGN:
Connection/Stitches between the panels.
• The sheets were broken down in a way to ensure that each corner will attach to the other corner in the following panel (as marked in red). • This will allow a continuous from first to last panel.
Panels’ Grid
• The grid was designed perpindicular to the water flow analysis to allow the edges to be stronger and to allow the plaster to thicken the edges and strengthen the structure.
Solid Stitches
• As a result, the solid stitching was designed to reduces the gravity effect on plaster flow and in return directing the plaster to the edges/creases.
Wrinkles and Pinches
• The wrinkles enhances the pattern on the edge and directs the flow perpindicular to the edge direction, strengthening the edge.
PATTERN DESIGN:
Front Panels
Back Panels
• The following diagram shows the model, the front and back panels, and the connections used to tie those panels together. • When designing this pattern this time the longer panels were placed on top and the shorter panels at the bottom, to avoid bulking the bottom of the model.
Fabric Connections
MAYA SIMULATION-OVERALL FORM:
• The model is first modeled using basic planes, as shown previously.
• The form is changed to an N-CLOTH on Maya in order to apply pressure and gravity to understand plaster behaviour.
MAYA SIMULATION-PATTERN:
• The panel is first modeled using basic planes, as shown previously.
• The form is changed to an N-CLOTH on Maya in order to apply pressure and gravity to understand plaster behaviour.
• The pressure causes the fabric to expand and allows the edges to strengthen the bottom.
• The stitching pattern is modelled in maya to evaluate how one panel will behave after pressure is applied.
• The gaps between the folds decrease as more pressure and more plaster are added.
• The stitching pattern shows that the edges will be emphasized due to the use of the wrinkle strategy around all the edges.
FABRICATION PROCESS:
• The model is set up in the wooden frame with the fabric joints connecting the 3 panels together. •
The fabric connections link the panels at 3 different levels.
• The model is hung from the top of the expansion.
frame and raised in order to allow maximum
• The fabric is stretched and tied to the wooden frame. This allows for expansion of the model after casting.
BEFORE CAST:
•
The image shows the model in the frame, and as set uo and ready to cast.
AFTER CAST:
•
The image shows the model in the frame, and as set up after cast.
AFTER CAST ANALYSIS:
• The shape of the folds were emphasized after casting and the pattern design allowed the edges to achieve the structural strength and balance.
JOINT BEHAVIOUR: BEFORE:
AFTER:
•
BEFORE:
AFTER:
BASE BEHAVIOUR: BEFORE:
•
Those images clearly show the difference between tension before cast and compression after the cast.
AFTER:
PATTERN ANALYSIS
STRUCTURAL ELEMENTS
• The pattern design (specifically the wrinkles) emphasizes the edges and creates a structural system that strengthens the column structure, allowing the edges to be strong from bottom to top.
MODEL IMAGES AND DETAILS