In response to the posited challenge of material intensities, as a continuation of ongoing drg research, and stemming from developments realized during the course material processes and systems, “ceramics 2.0” will explore the opportunities presented by the merger of ceramic-based material systems with computational design and robotic fabrication technologies.

CERAMICS 2.0

Professor Martin BechtholdDirector, Design Robotics GroupHarvard Graduate School of DesignCambridge, MA, United States

Doctor of Design Candidate, Design Robotics GroupHarvard Graduate School of DesignCambridge, MA, United States

MDesS, Technology Harvard Graduate School of DesignCambridge, MA, United States

Nathan King

Aurgho Jyoti

MDesS, Technology Harvard Graduate School of DesignCambridge, MA, United States

Stefano Andreani

Jose Luis Garcia del CastilloParametricCampMDesS, Technology Harvard Graduate School of DesignCambridge, MA, United States

CLUSTER CHAMPIONS

03

Alex Chew Shima Miabadi

Milena Stavric

Cat CallaghanNadia Kulczycky

Plamena Milusheva

Mary Chib

Carla de Beer

Marc Syp

Chip Clark

Justin Paul WarePasi Aalto

Georg Grasser

CLUSTER MEMBERS

team.01 team.04

team.05

team.02

team.03

REDSHIRTS

Monday 3.19.2012INTRODUCTION_ Lecture on Ceramics by Martin Bechthold 07INDIVIDUAL PRESENTATIONS_ Initial Concepts 09LECTURE_ Antón García-Abril 25 WORKSHOP 27

Tuesday 3.20.2012WORKSHOP_ Hand Sculpting 29LECTURE_ Nathan King 43PRESENTATION_ “Transgranular Perspiration” | Brian Lilley 45EVENING LECTURES 47PROGRESS 49

CONTENTS

05

MOND

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12

07

INTRODUCTION

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12

There are two strains of ideas that I’m particularly interested in that as of right now seem mutually exclusive although they might intersect as things develop. As I mentioned briefly in my introduction, the temporal dimension of ceramics is of particular interest to me. Specifically, I’d like to explore the design potential to transform erosive and destructive forces typically associated with wear and tear in harsh climates. One strategy I’ve been considering is to deploy specifically articulated geometry as a means to direct surface water down paths of lesser resistance, thus forming patterns or wear that can get amplified over time. I believe that this can be combined with some of the more performative aspects of the research already undertaken such as slip-joints that utilize ruled geometry to create additional shear/lateral support.

Starting from one simple ruled surface that adds relief/volume to the face of the ceramic block, I looked at a few different variations of this system starting from simple rectangular tiling (GROUP A) to parallelogram tiling (GROUP B). Currently the ruled surface goes negotiates between vertical and horizontal vectors. Depending on the inverse kinematic limitations of the robot the design might change dramatically. The next step is to pursue some localized conditions to create variation and difference. By modulating the depth/overhang, we can calibrate both exposure to elements and slope for drainage. A secondary grain might be attainable by deploying a secondary system of pattern/texture that can help control the flow of water. This might help obscure the boundaries of each tile and unify it as a performing system. There are certain areas that will need to be investigated in more detail as the context is made evident such as the back condition. If it is to be freestanding I think it would have to be more monolithic and the back face would probably take on similar relief in order to beef up the structure.

GROUP ASimple rectangular tiling with one module type.Simple stacking on left produces ridging that could be interesting.Overlapped stacking on right accentuates rhombus shape.

GROUP BParallelogram tiling with one module type.The two options above have the potential to turn the disconnection between the modules into differentiated moments that define local conditions.The two options below play up the cascading qualities of this particular tiling and geometry that may be beneficial when dealing with water flows.

09

ALEX CHEW

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12MO

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3.19

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11

NADIA KULCZYCKY

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12MO

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3.19

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p1

a

b

p2

a

b

c

pm

a

b

pg

a

b

cm

Based on the seventeen wallpaper groups, I try to extend a two-dimensional ornament into a digital three-dimensional ornamen-tal pattern using appropriate mathematical and geometrical rules.

Smart Geometry 2012 I Ceramic 2.0 I Milena Stavric

parametrical model

different kind of pattern I 4 control points I pattern can be changed in uv domain I each part can be defferent in hign I size and form I geometrical constrains

applied on the arbitrary surface I oppenings can be influenced by licht direction I with out oppenings I each part consist of translational surfaces - loft surfaces I oppenings can be punched I each part is cuttet with 4 robot paths I

woork in progress

inn pproo

ork indifferent kind of pattern I 4 control points I pattdifferent kind of pattern I 4 control points I patt

d on the arbitrary surface I oppenings can be influenced by licht dirary surface I oppenings can be influ

13

MILENA STAVRIC

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12

15

GEORG GRASSER

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The project takes the concept of a traditional ceramic wall structure and combines its usual structural and environmental requirements with that of acoustic requirements. In many cases ceramic wall coverings tend to provide acoustically reverberant surfaces. This project looks at the possibility of including surface indentations to the ceramic wall in order to refract and absorb most of the sound waves that hit its surface. The application of robotic construction techniques provide the opportunity to construct each of these unique units individually, rather than relying on a mould to construct multiple copies of a few sample units. As a research scheme the intension of this project is to provide a generic rather than a location specifi c solution. Its concept, however, should be adaptable to most design applications.

Bearing in mind the ruled surfaces fabrication process, the wall surface is created through a set of lofted sine curves. The acoustic design consideration also results in a visually stimulating feature, reminiscent of the ripples found on a sand dune or the folds of a draped fabric. The curved surfaces should help to defl ect sound waves and thereby increasing reverberation times. The application of curved surfaces in an auditorium, especially one where increased reverberation times are required for musical performances, is an unusual but not unprecedented design feature. The glazed surface walls to the auditorium in the Casa da Musica, Porto, being one example in case. The undulating surface of the wall structure allows for the stack bonded units to better interlock and thereby improving the structural performance of the wall as a whole. The wall can be designed with a fl at backing although this increases the amount of construction material required. In this example the undulating surface is extruded in equal measures so that the thickness of the units are the same.

17

CARLA DE BEER

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12

19

PLAMENA MILUSHEVA

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12

ceramic tile rainscreen scallops facilitate drainage to front face

21

MARC SYP

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3.19

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23

PASI AALTO

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12 Antón García-Abril, (Madrid, 1969) is a European PhD Architect and associate professor in the School of Architecture of the Polytechnic University of Madrid (E.T.S.A.M.-U.P.M.). He received the Spanish Academy Research Prize in Rome in 1996. In 2000 he establishes ENSAMBLE STUDIO leading a team in search for architectural application of conceptual and structural experimentation. He has been invited professor at the M.I.T. in 2011, the Graduate School of Design of Harvard University in 2010 and Cornell University in 2008 among other universities in America and Europe. He writes about architecture in El Cultural magazine from El Mundo newspaper, and has been part of important prize juries like the BBVA Foundation’s “Frontiers of Knowledge Prize”, given to Steven Holl in 2009. His office has been awarded with important prizes like The Rice Design Alliance Prize to emerging architects in 2009 or the Architectural Record Design Vanguard Prize in 2005, and has been recently selected by SANAA to participate in the Venice Biennale of Architecture 2010. There is a constant research work in his projects which are exposed structures that explore the essence of materials to create space. The Music Studies Center and the SGAE Central Office in Santiago de Compostela, the Martemar House in Malaga, the Hemeroscopium House in Madrid and more recently The Truffle in Costa da Morte (Spain), have been internationally published. In 2009, he founded the Positive City Foundation to research the urban phenomenon. He travels worldwide, lecturing and teaching at different universities and institutions, the most recent ones being the Akademie der Bildenden Künste Stuttgart, Kunstakademie of Düsseldorf, AA London, Instituto Cervantes Chicago, Bienne Forum de l’architecture and Bauhaus University Weimar.

source: http://www.ensamble.info/actualizacion/ensamblestudio/principals

ANTÓN GARCÍA-ABRILMO

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25

LECTURE | Antón García-Abril

MOND

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12

WORKSHOP

27

TUES

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12

White

Loop ToolNeedle ToolPotters RibRibbon Tool

SpongeSteel ScraperWire Clay CutterWood Modeling Tool

Stoneware

Porcelain

Terracotta

Air Fire

MATERIALS TOOLS

WORKSHOP | Hand Sculpting

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TUES

DAY 3

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12 Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description.

TEAM.01

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WORKSHOP | Team.01

TUES

DAY 3

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12 Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description.

TEAM.02

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WORKSHOP | Team.02

TUES

DAY 3

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12

Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description.

TEAM.03

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WORKSHOP | Team.03

TUES

DAY 3

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12

Our goal for today was to get most of the technical digital work done. That involved developing the tool paths for our single unit prototype and also setting up the Grasshopper definition for the over-all system. We were able to get through most of that by the end of the day. Our tool paths are set up and ready to test and we are fine-tuning the Grasshopper definition for the geometry of the system.

TEAM.04

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WORKSHOP | Team.04

TUES

DAY 3

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12

Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description.

TEAM.05

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WORKSHOP | Team.05

TUES

DAY 3

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12

41

WORKSHOP | Hand Sculpting

TUES

DAY 3

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12 Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description. Description.

INDUSTRIAL CERAMICS

43

LECTURE | Nathan King

TUES

DAY 3

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12 Investigation of the relationship between geometry, ambient conditions, and ceramic composite material in the production of an adaptable, environmentally reactive chamber. The chamber is made from prefabricated ceramic parts, and grafts onto an existing framework with the use of a portable skin.

Brian LilleyRoly HudsonKevin PlucknettRory MacDonald

TRANSGRANULAR PERSPIRATION

45

PRESENTATION | Brian Lilley

Presentation by Nathan King, Jose Luis Garcia del Castillo, Stephano Andreani, and Aurgho Jyoti, explaining the various mechanisms of the robot, which allows for a modern usage of a traditional material.

TUES

DAY 3

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12 ????

EVENING LECTURES

Demetrios Comodromos, RPI Host DirectorJefferson Ellinger, RPI Host Director

47

EVENING LECTURES

??

TUES

DAY 3

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12INITIAL CONCEPT SKETCHES UNIT DEVELOPMENT

unit thickness / fin depth depth vs. width of flutes orientation of flutes & water channels

unit geometry

49

PROGRESS | Team.04SYSTEM DEVELOPMENT

wall thickness variability

wall thickness & thermal lag

vertical hot zones

hand-molded prototype