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Surface, Screen & Structure

Professor: Joseph Vidich

WHY DIGITAL FABRICATION:


Architecture continually informs and is informed by its modes of representation and construction. Perhaps never more so than now, when digital
media and emerging technologies are rapidly expanding what we conceive to be formally, spatially, and materially possible.

- Lisa Iwamoto, Digital Fabrication: Architectural and Material Techniques, (Princeton Architectural Press, 2009), p. 4

WHY ORNAMENT:
Architecture needs mechanisms that allow it to become connect to culture. It achieves this by continually capturing the forces that shape society
as material to work with. Architectures materiality is therefore a composite one, made of visible forces (structural, functional, physical) as well as
invisible forces (cultural, political, temporal). Architecture progresses through new concepts that connect these forces, manifesting itself in new
aesthetic compositions and affects. Ornament is the by-product of this process, through which architectural material is organized to transmit unique
affects.
- Farshid Moussavi and Michael Kubo, eds., The Function of Ornament (Actar, Barcelona, 2008), back cover

WHAT WE ARE ATTEMPTING TO ACHIEVE:


For us as designers digital fabrication is a formal problem (what are we designing?); a problem of scale (how big, or small, can we build); a problem
of context (who are we building for?); and a problem of necessity (why is it necessary for this project?). I want us to approach these problems and
address as thoroughly as possible. I also want us to understand that in creating our screening systems, essentially an appliqu, we are creating
ornament. We are designers and therefore how we express this form is of utmost importance but nonetheless we are also responsible for creat-
ing a functional sun screening system. This requires that you have anticipated and adapted to extrinsic forces (light transmittance, wind, and the
immediate surrounding urban conditions) as well as intrinsic forces (material thickness, translucency, thermal expansion, and strength). Lastly, it is
critical that you understand the parameters required for digital fabrication, such as part management, assembly logics, and machine constraints,
just to name a few. Ultimately your design, while being as expressive and as innovative as possible, it must remain rigorous in its systemization and
performance.
Radiolaria Project The Radiolaria Project aims to rethink architectural design and manufacturing techniques - it ex-
plores the filigree and beautiful skeletons of radiolarians, tiny marine organisms, with their striking
By: Christian Troche + Gregor Zimmermann hexagonal patterns. This space frame system would be suited to work as a structure for a light
Date: 2007 weight roof, faade or pavilion. The installation should be understood as built mission statement
Site: University of Kassel to identify with the main objectives and resources of the department: Analogue and digital form
Link: finding techniques, parametric design and non-standard manufacturing techniques. It should also
look at the way users perceive the new space of the corridor and react to it.
Radiolaria Project The Node elements are manufactured from black 10mm MDF panels. The necessary thickness of
the material is linked with the curvature of the design surface as higher curvature values result in
By: Christian Troche + Gregor Zimmermann a steeper inclination of the strut angle towards the node plane. The node halves are automatically
Date: 2007 arranged in pairs in a close packing related to the measurements of the stock material. All struts
Site: University of Kassel are cut from 10x1 mm aluminium tubes by hand. Every strut element in the structure is defined by
Link: a set of data that contains information about the two adjacent nodes and node legs to be mounted
to and the length of the strut. The labeling of both nodes and struts provides all information neces-
sary for the correct assembly since each element refers to the next.
Radiolaria Project The closest equivalent engineered structure to the filigree skeletons of the radiolarians would be a
single layer space frame. The node is composed of two parts only, a bottom and top half that can
By: Christian Troche + Gregor Zimmermann be wedged together by a screw through a central hole. The mounts for the struts are milled into the
Date: 2007 node top and bottom halves with a ball-point tool that has just the same diameter as the struts to
Site: University of Kassel ensure a stable and accurate mounting, using just a single milling operation.
Link:
Framing Space Framing Space is composed of a differential three-dimensional space truss; a network of linear
elements (struts) connected at centralized locations (nodes) where load is transfered axially from
By: aa64 node to node through the struts. This type of system is lightweight and rigid, carries a degree of re-
Date: 2009 silience and redundancy, and can span considerable distances compared to its depth. The digital
Site: AIA New York models were parametrically built in order to maximize flexibility in design, yet this system can be
Link: easily and rapidly manufactured using a 2D CNC laser cutter.
Framing Space Each node and strut, being entirely unique, was catalgued digitally prior to favrication. Once as-
sembled each node could then be efficiently organized in anticipation of assembly. Producing
By: aa64 a non-uniform space-frame is an exercise in information management yet the assembly of this
Date: 2009 space-frame was entirely analog, requiring diligent mapping and craft. The design, fabrication and
Site: AIA New York organization of this project was that of parts creation and management, driven by precise staging
Link: during the overall construction.
Framing Space Finite Element Analysis (FEA) of structural forces and the resultant stress/strain diagrams were
applied to the global geomerty using SAP2000 in order to test the loads on individual nodes. This
By: aa64 analysis demonstrates how a space-frame works, how parametric design can be integrated into
Date: 2009 the development, analysis, fabrication and assembly process, and ultimately how the engineer-
Site: AIA New York ings role in the creative process is changing.
Link:
Voromuro The form of Voromuro is generated from an ongoing preoccupation with structural shapes, and the
very units used to fabricate them. Composed of two distinct structural systems: surface active and
By: Office da form active. The relationship between the form and its fabrication methodology is played against
Date: 2007 pre-occupations with components and their requisite aggregation techniques. If conventional fab-
Site: ICA Boston rication is based on material units - bricks, clapboard, tile - then the voronoi offers this installation
Link: http://www.officeda.com/ a way to organize its cellular arrangement according to variable units that are the result of dimen-
sional and geographic particularities of the piece.
Voromuro The cells are mass customized - thus, no two cells are alike - ranging from cylindical, to cubic, and
polyhedral conditions, helping the form to arrive at the structural stasis. For instance, the polyhe-
By: Office da dral cells operate much like a keystone in an arch, while the cylindrical extrusions like columns.
Date: 2007 The depth of the coffering varies also, responding to forces, loads and stresses. Fabricated out of
Site: ICA Boston PETG panels, all units are CNC cut from flat sheets, making the installation constructable without
Link: http://www.officeda.com/ any deformation to the material units. Thus, no panel was heated or stretched into shape, but
rather bent to closed cells by the alignment of predrilled rivet holes.
Tesselion Tesselion is a project by Skylar Tibbits which proposes a system of flat panel tessellation derived
from complex surfaces to enable ease in constructability and a directly evolved spatial environ-
By: Marc Fornes + Adrienne Yancone ment through lighting, programmatic adaptation and structural simplicity. Each panels unique-
Date: 2008 ness is afforded by the efficiency of digital fabrication while coded parametric relationships allow
Site: University of Pennsylvania an emergent structural efficiency, from a single panel to the complete adaptability of the surface
Link: as a whole.
The unfolded flat panel showing the use of perfo-
rated lines in order to bend the steel. Each panel
is cut from flat stock and folded at precise angles.
Once assembled the panels create the doubly
curved form of the final installation.
Voussoir Cloud The curvature produces a form that relies on the internal surface tension to hold its shape and
allows for a structural porosity within the constraints of sheet material. The form-finding explora-
By: Iwamoto/Scott tion of the whole is thus dependent on the geometric performance of the individual units and their
Date: 2008 relation to the gallery walls.
Site: Los Angeles, CA - SCI-Arc Gallery,
Link:
Voussoir Cloud
By: Iwamoto/Scott
Date: 2008
Site: Los Angeles, CA - SCI-Arc Gallery,
Link:

Voussoirs, the wedge shaped masonry blocks


that make up an arch, are redefined in Voussoir
Cloud using a system of three-dimensional mod-
ules formed by folding paper-thin wood laminate
along curved seams. The curvature produces a
form that relies on the internal surface tension to
hold its shape and allows for a structural porosity
within the constraints of sheet material.By begin-
ning with a material operation, the design process
is focused on calibrating the relationship of digital
model to physical result.

1. Detail of wedge shaped wood laminate in physi-


cal and digital form.
2. ISArs ruled-surface method: cutting and scoring
template generated so that folding along crease
lines will yield the desired curvature.
3. Typical ruled-surface application: surfaces cut
separately and joined at seam to yeild desired
shape.
Columbia Slide Library The slide library operates as both a didactic tool, describing the fabrication process through the
information inscribed on its surfaces, and as a metaphor for the projector that illuminates the
By: Marble Fairbanks slides. The east wall is made up of 435 layers of 1 thick ultralight (lightweight mdf) sandwiched
Date: 2005 together. Occasional viewing portals are formed by carved layers on opposite sides of the wall with
Site: Department of Art, Columbia University two 1/2 thick glass panels sandwiched between these carved out areas. The middle of the east
Link: http://marblefairbanks.com/?p=1694 wall curves into the space to capture light from the skylight above onto the outside face of the wall.
The edges of the glass panels refract light and glow from the natural light.
Stabile Student Center
By: MarbleFairbanks + Proxy Studio
Date: 2009
Site: Columbia School of Journalism
Link: http://marblefairbanks.com/?p=785
The architectural research involves highly engineered sur-
faces, each of which is generated through digital processes
to address a particular technical or programmatic require-
ment, while also designed to produce specifically architec-
tural or experiential effects. These surfaces thus satisfy a
double definition of the word performance: by performing on
two levels, the technical/quantitative and the phenomenal/
qualitative, the project offers a new model for implementing
digitally-driven design.
Stabile Student Center
By: MarbleFairbanks + Proxy Studio
Date: 2009
Site: Columbia School of Journalism
Link: http://marblefairbanks.com/?p=785

FABRICATION

Digital modeling was utilized to engineer performance


but also to test and innovate architectural effects. Work-
ing closely with fabricators, each surface system was put
through rigorous prototyping. While technical performance
can be numerically driven and calculated, the cultural and
qualitative effects of each surface were tested at full scale to
achieve the desired resolution and legibility. The techniques
of the assembly for each patterned surface were finalized in
the prototyping phase, with information and coordination of
the assembly logics embedded in the final digital files.
MATERIAL / SURFACE

Four separate episodes within the archi-


tecture of the project engage in the tech-
nical (quantitative) while also critically
engaging in the cultural or phenomenal
(qualitative) implications of digital design
and production.

SURFACE 1 SURFACE 3

SURFACE 2 SURFACE 4
partially visible windows

vertical supports

twisted louvers

Signal Box The signal Box creates an affect of variable depth by cladding the ordinary volume of an electri-
cal signal box in thin horizontal copper bands that are twistet at strategic locations to provide light
By: Herzog & de Meuron to the inhabited spaces within. the continuous transition from a flat facade of copper bands to a
Date: 1994 screen of twisted louvers varies the visual depth of the envelope.
Site: Basel, Switzerlan
Link: Farshid Moussavi and Michael Kubo, eds., The Function of Ornament (Actar, Barcelona, 2008)
Kanno Museum Hitoshi Abes work is sculptural, generative, sensitive to materials and structurally innovative, us-
ing fabrication techniques and design approaches that are somewhat uncommon in Japan. The
By: Hitoshi Abe main entrance, marked by an L-shaped Cor-Ten canopy, brings visitors directly into the museums
Date: 2005 top level. Here, floors become walls, walls become ceilings, and art becomes the focus. Steel stairs
Site: Shiogama descend immediately to an exhibition space, the first of a spiraling sequence of irregularly shaped
Link: http://www.a-slash.jp/main.html galleries on three levels, all contained within the buildings rectilinear enclosure.

Naomi R. Pollock, AIA


Kanno Museum This project uses a punched steel skin in an unique and ingenious way; Takahasi shipbuilders cre-
ated steel embossed panels with original patterns to satisfy sculpturesque style and strength. Ex-
By: Hitoshi Abe terior and interior panels are combined like a sandwich to increase surface stiffness. The project
Date: 2005 is a key example of the interface between digital fabrication and handcraft where the difficulty of
Site: Shiogama welding complex shapes from thin steel plates within the existing building led to the use of ship-
Link: http://www.a-slash.jp/main.html building technology for the actual manufacturing.

http://www.takahashikogyo.com/sakuhin/okanoue/okanoue_e.htm
Aoba-Tei Restaurant Architecture is the unification of the diverse phenomena that constitute the state of a place,
which are contingently materialized as boundary surfaces. The restaurants interior is wrapped
By: Hitoshi Abe in folded and perforated steel plates. Hundreds of thousands of holes were numerically cut into
Date: 2005 the plates with a pixelated image of the local Zelkova trees. At night the abstracted silhouettes of
Site: Sendai the Zelkova trees are revealed as the surrounding boundary surfaces dematerialize into points of
Link: http://www.a-slash.jp/main.html light and shadow.

Hitoshi Abe, Flicker (TOTO, Japan, 2005)


Aoba-Tei Restaurant For the inner wall craftsmen who were highly experienced with the unique characteristics of steel
plates were able to freely deform the steel by heating chilling key points, and thereby producing
By: Hitoshi Abe complex curved surfaces. The unique descriptive methods they used to unfold the three-dimen-
Date: 2005 sional volume into two-dimensional surfaces were predicated on the manual craft techniques
Site: Sendai used to make these curves.
Link: http://www.a-slash.jp/main.html
Hitoshi Abe, Flicker (TOTO, Japan, 2005)
de Young Museum The buildings dramatic copper facade is perforated and textured to replicate the impression made
by light filtering through a tree canopy, creating an artistic abstraction on the exterior of the muse-
By: Herzog & de Meuron um that resonates with the de Youngs tree-filled park setting. The buildings copper skin, chosen
Date: 2005 for its changeable quality through oxidation, will assume a rich patina over time that will blend with
Site: San Francisco, CA the surrounding natural environment.
Link: http://deyoung.famsf.org/
Images: Liao Yusheng
de Young Museum The wall panels use no exposed fasteners or wet sealants. They are engineered to interlock in such
a manner to control thermal movement without compromising the moisture deterrence require-
By: Herzog & de Meuron ments. The custom embossed and perforated pattern on the facade was generated from a series
Date: 2005 of digital images of tree canopies. Each emboss and perforated hole is derived from an algorithm
Site: San Francisco, CA created to map contrasting image tones of the original images. Greater embossed depths cor-
Link: http://deyoung.famsf.org/ respond to darker areas on the image while the perforation pattern responds to ventilation and
lighting requirements
Branford House As a design/build firm FACE has a unique influence over numerous aspects of the production
chain. Through the ability to build full scale prototypes within their shop they can immediately ana-
By: FACE Design lyze structure and form. This allows them flexibility in their design stradegy and greater control over
Date: 2005 any components fabricated by specialized consultants. This 5500 sf. prototype dwelling is signifi-
Site: Branford, CT cant for its innovative hybrid construction system. By using stardard construction components,
Link: 2 x 10 structural steel tube, in combination with custom CNC fabricated details, this house can
efficiently bridge between these disparate methods of building. This achieves a means for cost ef-
fective prduction while not limiting the architects design to readily available materials.
Branford House The specialized components fabricated for this house include the curved CNC laser cut moment
connections, a CNC laser cut kingpost to post-tension the truss and custom curved SIP panels. The
By: FACE Design CNC laser cut moment connections used to create the filleted section profile of the building were
Date: 2005 cut from 1/2 steel plate and sandwiched around circular steel collars. The ends each connecter
Site: Branford, CT were dimensioned so as to exactly fit within a standard 2 x 10 steel tube. The tubes were all cut
Link: to size at mill and shipped to the site ready for assembly. All of the moment connecters and steel
tubes for a typical bay were identical so that each piece was interchangable with anouther. Thus
expediting the total assembly.
Branford House The moment frame truss was assembled flat on the ground from the pre-fabricated components
that had been shipped to the site. All the connections were mechanical and once complete the
By: FACE Design frames were individually lifted into place by a crane and bolted to steel angles cast in the founda-
Date: 2005 tion. This modern day barn raising allowedfor the rapid assembly of the super structure, com-
Site: Branford, CT pleted in six days. The 2 x 10 galvanized steel tube moment frame assembly was intensionally
Link: under sized in order to create a continuity of section between the coumn and horizantal span. This
required FACE to create a custom kingpost assembly in order to post-tension the steel tubes so
that they will be able to complete the 35 span without using a deeper section.
Parish House BURST* 003 or Parish House is a kit home where by using digital processes each piece is pre-cut,
numbered, delivered to the site and assembled. Using sophisticated nesting algorithms the 1,100
By: SYSTEMarchitects non-identical CNC laser cut plywood ribs are managed and optimized producing little waste, ex-
Date: 2005 pediting the fabrication process. Conversely, the X-Clip, used to fasten the plywood ribs together,
Site: Australia is a standardized CNC bent and drilled component. While high technology is used throughout the
Link: design and manufacturing process, low technology is intentionally used for assembly and for main-
tenance, allowing the structure to be built using a relatively inexperienced labor force in a short
period of time.The Parish House is proposed as a prototype for prefabricated cheap housing.
Parish House A detailed three-dimensional model is required in addition to extensive labeling of the consti-
tent parts. This is in order to both accurately fabricate the various components as well as track
By: SYSTEMarchitects and assemble them once they arrive to the site. The 3D axonometric along with the excel spread
Date: 2005 sheet quickly became the critical document for building the Parish House. Each of the 1,100 non-
Site: Australia identical plywood ribs were labeled in the digital FORM Z model with a corresponding number in
Link: the excel document. Nesting algorithms were used in order to effectively layout 2D pieces prior to
being CNC laser cut. Once every rib had been identified the crew could begin assembly. With no so-
phisticated carpentry involved, a small crew could assemble the lightweight structure in weeks.
GSAPP // HOUSING STUDIO // SCOTT MARBLE // FALL 2006
COLUMBIA UNIVERSITY
ARCHITECT AS DESIGNER AND FABRICATOR ARCHITECT AS MANAGER OF DESIGN AND PRODUCTION CHAIN sk
As a design/build firm FACE has a unique influence over numerous Controlling the digital design chain and the production chain
aspects of the production chain. Through the ability to build full scale are critical when a project has many disparate parts. A detailed gash
prototypes within their shop they can immediately analyze structure three-dimensional model is required in addition to extensive
and form. This allows them flexibility in their design strategy and labeling of the constituent parts. This is in order to both accurately
greater control over any components fabricated by specialized fabricate the various components as well as track and assemble
consultants. them once they arrive to the site.
Designer + Specialized Designer fabricator
Fabricator fabricator

P HASES PROCESS OUTPUT PHASES PRO CESS O UTPUT


progra

sta

excel
3D modeling
Building spreadsheet
components
Rendering in FORM Z
for date Data colum
logging

flood pla

Design Full bay


Design Add Depth Individual
3D modeling prototype to FORM Z structural ribs
in FORM Z built in Prototype structure located and Ribs placed
shop (keyframe) labeled

Add Depth Analysis Analysis


to FORM Z of form and Analysis of form and
structure structure FORM Z rendered section structure Reuben Jorsling, Partner
(keyframe)

BRANFORD RESIDENCE PARISH HOU


IGES Export Ribs
Construction to LOCATION: Branford,
Construction
Conneticut NESTED and
Nesting LOCATION: Nort
documents VectorWorks optimized

and ARCHITECT: FACEdocuments


Design IGES Export
for cutting
ARCHITECT: SYS
and
shop FABRICATOR: FACE Design to
shop + Milgo BufkinAutoCAD FABRICATOR: G

CNC : TRANSFORMING THE BUILDING INDUSTRY


JOSH DRAPER / JOE VDICH
drawings SIZE: 5,500 square drawings
feet G Code P.
created for
CNC mill pathing SIZE: 1,000 squa
milling of SIP CONCEPT
Finalized
panels
Specialized CNC Laser
CONCEPT
Specialized components This 5500 sf. prototype dwelling is significant
for its innovative hybrid construction system. BURST* 003 or Paris
components CNC
CNC Nested shop All plywood using digital proc
Fabrication laser cutting By using standard Fabrication
construction components, drawing sent
laser cutting
shipped flat
of plywood numbered, delive
of truss
2 x 10 structural steel tube, in combination to fabricator to the site
All building joints FACE ribs
Research Using sophisticate
components with custom CNC fabricated details, this non-identical CN
house can efficiently bridge between these Spring Prairie House blog
assembled at
shop Structural managed and op
components disparate methods of building. This achieves Parish House del.icio.us expediting the fa
a means for cost effective production while All building
39571 / Obscura Organization the X-Clip, used
Components
pre-fabricated components
delivered to
not limiting the architects design to readily organizedPentagon Memorial together, is a stan
on-site 3D FORM Z
site available materials. The specialized component. Wh
Construction CNC Matrix model used throughout the
c o m p o n e n t s f aConstruction
bricated for this house to locate
BIM / LEED / XML and ID ribs process, low tec
Final i n c l u d e t h e c u r v e d C N C l a s e r c uOnt site
erection for assembly and
On site
Assembly moment connections, a CNC laser cut Future Trends Assembly
erection the structure to
kingpost to post-tension the truss and custom Glossary
inexperienced la
curved SIP panels. of time.The Par
prototype for pre

Architect as Designer and Fabricator Architect as Manager of Design and Production


As a design/build firm FACE has a unique influence over numer- Controlling the digital design chain and the production chain are critical
ous aspects of the production chain. Through the ability to build when a project has many disparate parts. A detailed three-dimensional
full scale prototypes within their shop they can immediately ana- model is required in addition to extensive labeling of the constituent
lyze structure and form. This allows them flexibility in their design parts. This is in order to both accurately fabricate the various compo-
strategy and greater control over any components fabricated by nents as well as track and assemble them once they arrive to the site.
specialized consultants.

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