pattern & structure

Could these geometries now also be scaled from a product design level to building component structures?
Can those patterns be applied to non load bearing and then load bearing cladding systems with complex shapes?

infinite continuity
concept of the transformation process of a diagrammatic (figural) scheme into multi-scalar, multi-usable properties, achieving multidimensional structural configurations and instances that reappear as a repetition with variation.

STONE:
There are two directions, which form the basis of exploration in the next phases:

1.) one is a building envelope with non load bearing stone veneer surfaces, with or without compound curvature. Here the design research will elaborate a non-structural suspended cladding in stone experimenting with 3D patterns and their surfaces.

The research is supposed to establish or refine design rules according to the experiments with constraints of individual geometry, module size change (-weight for handling and installation), joint position with backup structure etc…

Reading:
Mostafavi, Surface Architecture
Detail:
-Bauen mit Naturstein (issue 2003/11)
-Hugues, Th., Detail Practice:Dressed stone, types of stone, details, examples

Assignm.:
research on cladding systems & steel support structures for detailing (either traditional steel anchors bolted to structural wall or clips with horizontal aluminium rails and vertical support profiles),

stone material selection & single component design & (assembly and composition must be made clear and readable with additional drawings, renderings) fabrication of one pattern application as a non load bearing suspended façade cladding, which could be a solid surface or dependent on the building position a perforated screen (which might be also back-illuminated to enhance the geometrical pattern in depth). The design description should clarify the number and size of different typical modules necessary to accommodate eventual edge conditions and varying lengths in building height as well as in width. The dry installation of the cladding should be explored in detail (1:10) with corresponding plan, section horizontal+ vertical and elevation, and 3D model detail. Section standard with 200mm reinforced concrete wall, 30mm mineral wool, 50mm ventilated cavity and stone thickness according to design requirements.

ref
http://www.claddiator.com

http://www.fischer.de/

http://www.halfen.de/

http://www.marmomacc.com

Print:
11/2x17” productsheets and 36x48” presentation sheets
Digital:
productsheets in .pdf in letter size, saved to the folder.
Fabricate: pattern scale model(s) 1:5

pattern & material & fabrication

How does design lead to industrial manufacturing?
If we use digital craft, can we fabricate something which follows the foam model?And how do we relate this model to material and substance?
Can patterns be applied to load bearing surfaces with complex shapes?

Here we are talking about an evolution of the manufacturing system towards the industrialized “one-of a kind”, a new way of mass-customization of “true art” on any scale from products to architecture.
It is a new concept of luxury linked to the craft and techniques of transforming materials, seen already in the beginning of last century, a revolutionary tradition of craftsmanship in the emerging laboratories such as the “Werkstaetten”, the “Werkbund”, or the “art deco assemblier” unfolding in different cities in Northern Europe.

If we explore the characteristics of material and the making, then for the reason to understand also the particularity of their surfaces, which is not only a wrapper, but deep structure as well.

The possibilities offered by new fabrication technologies permit great freedom to give an organization to material first, which in a second step is conferring a new skin to objects. It seems another evolution with respect to the designs of two dimensional decorations, as one suggests three dimensional surfaces with aspects of dynamic and tactile repetitions of geometries, stimulating effects that often surprise and stir emotions. At our hands are now lasers for carving embroidery motifs, but also technologies which insert new materials to enhance the textures, leading not only to a visual but more so to a multi-sensory nature of materials in general.

Ornament is a part of the world, and it cannot help but but resurface, reinvented, with a strong communicative thrust. (Alessandro Mendini, Writings 2004)

In the prototyping phase, students will experiment with materials in order to permit the evaluation of design variations and, or to test an assembly.

Reading:
Mori, Immaterial-Ultramaterial
Addington, Smart Materials
Detail:
-Laeden und Verkauf

Assignm.:
research on mobile room dividers - paravents, (contemporary and past époques such as oriental Arabic, Indian, african etc..); images min. 144dpi, reference to project name, book reference.
design , material selection & single component (prototype assembly, composition must be made clear and readable with additional drawings, renderings) fabrication of one paravent or interior space divider. Typical dimensions are 180x60x4cm or 130x90x8cm

ref
http://www.armanicasa.com/armani_casa_index.html
furniture complements:
http://www.armanicasa.com/index.jsp?language=en&site=AH&movieSession=armani_casa.swf&audio=acceso

http://www.paravent-art.de/

Print:
11/2x17” productsheets for each of the two products
Digital:
productsheets in .pdf in letter size, saved to the folder.
Fabricate: scale model 1:5

pattern repetition & difference

Do certain techniques accelerate new strategies towards the formation of original organizational structures? Can one push the underlying principle to its limits? What is the right tactic to get to the point when the systemic behavior proliferates variations?

Peter Eisenman’s term of repetition with difference is certainly one determining criteria.

Difference

In the nonlinear evolutional model must be an excess of information that allows each element in space (similar to cellular automata or other generative systems) to place itself. In this case all parts are aware of their function and spatial relationship to the neighbors and the whole. This message of the “difference” predominantly triggers knowledge-sharing and the evolution of the system, which being interrelated to time and program, allows form and space with a new organizational structure to emerge.

An important question to answer will be: When does surface become deep?
How do solids transform when air appears at unexpected locations?
What is the process like?
What are the respective formfinding techniques?
Geometric-metaphoric-evolutionary?

Assignm.:
Finished shape design of selected parties. Finalized modularization, and design of components. Performance check-up. Parties with perforated surfaces or perforated patterns and solid surfaces..

Component shape design scalable for:
1. interior design application size
2. exterior, façade modul size.

Print:
-2D development in -36x48 “ sheets
-3D development in -36x48 “ sheets
Digital:
2D & 3D development in .pdf in -letter size, saved in folder.

pattern & color

“Ornament is crime”, thundered Adolf Loos. So who would have imagined that the concept of decoration would be a hot topic in the third millennium? A topic so timely, so successful, that the ranks of the design star systems have set about decorating everything in sight, to give both environment and object a new dimension. It’s concepts bring to the forefront a new revolution, with respect to the purist, and minimalist habits of the related professions.

Décor and patterns involve the surfaces of objects and their materials, and the effects of transparency, luminosity, carving, embroidery or three-dimensional design in general become a new form of narration. The geometries are no longer seen as a superfluous skin, but a seductive form of expression indulging in material and color..

“Design is the unexpected welcome” moooi

In order to explore the visual perception of the patterns further, the geometry proposals are enhanced with a study on a color pigment mix to obtain a wider range of differentiation. The experimentation starts with a very basic palette of complementary colors up to suddle color tonality variations.
It will be necessary to develop further the suggested product design, in order to bring the geometric modularization into a harmonious relationship with the color pattern.
This experiment might also consider the potential integration of LED illumination and play on the effect of nocturnal illuminated patterns.

Reading:(on reserve in library)
-Albers
-digipop, Karim Rashid
-Material World I
-Material World II

Assignm.:

Exploration of 3D pattern parties – the evolution in color for further differentiation and variation.

Test the pattern application in product-design, and design an example of a floor lamp and a bistro table.

The design of the floor lamp will explore the combination of several materials. The base and the vertical “stem” could be in metal (die cast aluminium….) or plastics (polyethylene..), while the lamp shade might express the particular geometry with a suitable material depending on the pattern (acrylic glass, polycarbonate, unodised aluminium, other metals...). The illumination technology should experiment with LED systems, which offers additional potential for design patterns and decorative effects.

The possibility of applying the patterns to the design of a table, in particular to revisit the classical French Bistro table, will offer another challenge in material transformation. The design will employ the ironic strategy of the “new antiques”or “barock & roll”, combining a new and modern interpretation of the classic Baroque, Gothic.. base (legs, the vertical “stem” or load bearing column(s) in lacquered wood), with a complementary and at the same time contradictory table top in a modern design and material finish according to the pattern chosen (stone, metal, plastics, polyurethane...). A particular effect of surprise might be obtained by invisibly illuminating the table top with LEDs.

The “concept design materials” employed are foremost wood, plastics and metal, in some cases also layered by laminating thin sheet materials onto laser cut supporting material. It is predominantly the laser cut which offers again the possibility of additional material tactility and surface decoration.

Ref.:
Table: new antiques, side table tall (http://www.marcelwanders.nl/wanders/pages/tables-newant_3_7_grouppage.shtml)
Design strategy: barock & roll_Pink Dime
http://www.sawayamoroni.com/old%20web/collectionhome.html

French precedents
http://www.frenchgeneralstore.com/home/bistro.html
http://justinsomnia.org/2006/08/seeking-french-bistro-table/
http://losangeles.craigslist.org/wst/fur/273037377.html
http://www.antiquescolony.com/pg1023.html

Lamp: fringe 5
http://www.moooi.nl/content/collections/collection.php?unid=72

general:
http://www.edra.com
http://www.bebitalia.it/
http://www.driade.com/
http://www.kartell.it/

Fabricate: Small pattern sample of the selected geometry for each of the designs applied, in scale 7x7”.

Print: 11/2x17” productsheets for each of the two products, including pics of sample

Digital: productsheets in .pdf in letter size, saved to the folder.