Fab () {

C lay ;
}

Developers
Starsk Lara
Nasim Fashami
Sasa Jokic

Fab(){
Clay ;
}

Profesor
Marta Male-Alemany
Assitents
Jordi Portell Miquel Lloveras
Santiago Martin
IaaC
Barcelona - Spain
2011 - 2012
All rights reserved
2012

Sasa Jokic
Starsk Lara
Nasim Fashmi
{ digital tectonics }
2011/2012

{FabClay}

Reference

Reference

{FabClay}

Anish Kapoor became known in the 1980s for his

geometric or biomorphic sculptures made using
simple materials such as granite, limestone, marble,
pigment and plaster.[12] These early sculptures are
frequently simple, curved forms, usually monochromatic and brightly coloured, using powder pigment
to define and permeate the form. While making the
pigment pieces, it occurred to me that they all form
themselves out of each other.

The global need for housing includes millions of

refugees and displaced persons - victims of natural
disasters and wars. Iranian architect Nader Khalili believes that this need can be addressed only by using
the potential of earth construction.
After extensive research into vernacular earth building
methods in Iran, followed by detailed prototyping, he
has developed the sandbag or superadobe system. .

Unfold there is a new species of design, semiindustrial craft, and although the definition of craft
often refers to work by hand, in this context it reflects
a renewed interest in building knowledge through
repetition and practice of a skilled trade using the aid
of tools

Pasta has focused on a design-system using an innovative fabrication method for the construction of
housing. Based on an on-site, layered manufacturing
process using a paste-like material. Developed from
the customisation of existing CNC technologies and
incorporating CAD tools and scripting platforms, the
research work was aimed at finding an equilibrium
between materiality, design intent and fabrication
processes.

Contour Crafting (CC) is a layered fabrication

technology developed by Dr. Behrokh Khoshnevis
of the University of Southern California. Contour
Crafting technology has great potential for automating the construction of whole structures as well as
sub-components. Using this process, a single house
or a colony of houses, each with possibly a different
design.

Jonathan Keep
Having for many years used computer software as a
tool to explore form I am now developinh techniques
to print pots directly from computer code

{FabClay}

Introduction

INTRODUTION
{FabClay}

Fabclay is the project that demonstrates the new vision of making architectural
design and constructions, In terms of changing the logic of built from human as
a constructor to machine, regarding to new aspects of technology possibilities.
It has started from researches on traditional way of building with simple and accessible materi- als and continued by expanding the connections between architecture and new technology. Through digital design process we are able to make
complex shapes by simple rules that are emerging from mechanic performance
and materials possibility.
Materials properties and its communication with machines will create the performance in which complex forms can be emerged, therefore exploring the behavior
of material and its potentials give rise to develop prototypes in order to achieve
architectural applications in vari- ation of species in terms of scale, form and function.

Introduction

{FabClay}

{FabClay}

Thesis

Thesis

{FabClay}

THESIS
{FabClay}

Developing robot world and its effects on different industries create new approach
to architec- tural design and the technique of constructing.How to translate traditional build methods to the robotic system performance, will response to new
structures generation. Material, robot and computer science, simulating the performance in which, the combination of digital world and new architectural constructing definition has been demonstrated.
We can also consider the advantage of robotic performance in terms of continues
printing, which has been generated by mathematical logics and allow new structures to be achieved.
The main research question of this project addresses is what innovative techniques of design, construction and materials could prospectively be developed
and eventually applied to archi- tectural system. According to the history of clay
constructions that has been recorded through the history of architectural building, there is not only a plenty of knowledge but also an intelligence of profes- sional
treatment with environment in terms of material usage in appropriate way.Digital
tecton- ics focuses on material deposition techniques. The additive fabrication is
about adding mate- rial by using a device that can produce digital shapes and create the shapes which cant been made by humans hands.
The digital fabrications tools and technologies have the main challenge of translating the com- puters (bits information) ideas to analog space (material atoms).
Once those skills have been identified, needs to be equipped to transform them to
digital platform.

{ MATERIAL }

CLAY

{FabClay}

Material

Material

{FabClay}

DESIGN TROUGH CLAY

NATURAL CYCLE

WHY CLAY?. Clays are perhaps the oldest materials from which humans have
manufactured various arti- facts. The making of fired bricks possibly started some
5,000 years ago and was most likely humankinds second earliest industry after
agriculture.
From architectural point of view clay is almost forgotten material in construction
process espe- cially in the contemporary design. There are still many people who
use soil to build houses, but only in region where this material is cheap and without knowledge of new materials. So if we can discuss about clay as potential new
material in digital era in architecture, we cant forgot all historical experience and
knowledge of the material, equal in the other filed, such as sculptur- ing, pharmacy. Therefore, for us as researchers it was very important to learn from craftsmen
and artist who are working with clay. From artist we learn what relation of material
with material proportion and may technique of preparation of material, while from
ancient crafting how to prepare material for big object and to be resident to environmental condition.

WHY
CLAY

ARCHITECTURAL
DESIGN

FABRICATION

ECONOMICAL
SUSTAINABLE

LOCAL MATERIAL
WITHOUT ENVIROMENT POLUTION
CONSTANT REPRODUCION

USER EXPERIENCE
CONSTRUCTION RESISTANCE
FORM FINDING

NATURAL FORCES
COMPATIBLE WITH OTHER MATERIALS
2D DIMENSION TO 3D DIMENSION

MINIMAL TRANSPORTATION COST

LOW CONSTRUCTION PROCESS
LOW ENERGY CONSUPTION

1 : 1 SCALE FABRICATION

From economic sustainable point of you, clay is very cheap and assessable material. First of all, time from deposit and treatment of clay for use is short and dont
include too many people

12

13

{FabClay}

Material

Material

{FabClay}

VERY DEGRADED SOIL

14

DEGRADED SOIL

STABLE SOIL
15

{FabClay}

Material

Material

{FabClay}

LAG
POS-LATERITE
COVER
LENS LATERITIC
GRAVEL

GRAVELLY
COLLUVIUM
GRAVEL
DURICRUST
FERRUGIOUS
SAPROLITE
CLAY ZONE AND
SAPROLITE
FRESH
BEDROCK
PRIMARY HALO
ORE DEPOSIT

PRECIPITATION
TEMERATURE

CLAY MINERAL FORMATION AND TRANSPORTATION MECHANISM

WEATHERING AND EROSION DETRITAL CLAY TRANSPORTATION I
TRANSPORT 10 TO > 1000 KM

WHERE WE CAN FIND CLAY?. Clays are divided into two classes: residual clay,
found in the place of origin, and transported clay, also known as sedimentary clay,
removed from the place of origin by an agent of ero- sion and deposited in a new
and possibly distant position. Residual clays are most commonly formed by surface weathering, which gives rise to clay in three waysby the chemical decomposition of rocks, such as granite, containing silica and alumina; by the solution of
rocks, such as limestone, containing clayey impurities, which, being insoluble, are
deposited as clay; and by the disintegration and solution of shale. One of the commonest processes of clay formation is the chemical decomposition of feldspar.

16

17

{FabClay}

Material

Material

{FabClay}

NATURE OF CLAY
{CLAY, viscosity and plasticity}

Each particle the clay is a crystalline plate with an hexagonal outline . The average
diameter of this plate is one micron (one millionth of a meter), a size so small it can
only be observed by a high power microscope. Other particles in the clay are as
large as fifty microns and as small as one tenth micron in diameter. The thickness
of the clay particle is about one tenth the diameter with the faces flat and smooth.
In a batch of moist clay, the water forms thin films between the faces of the clay
plates. These films are very thin, averaging six thousandths of a micron in thickness. Of course, the more wa- ter added to the clay mass, the thicker will be these
films. A sort of equilibrium exists in the clay mass with the particles pulled together
by attractive forces and at the same time held apart by the water films. Therefore
the wetter the clay mass, the thicker will be the water films and the more easily the
clay particles can be forced to move in relation to each other. This explains why a
wet clay may be molded with less force than a dryer one.
When a plastic clay dries, the following steps occur: (1) the water in the layers between clay particles gradually diffuse to the surface where it evaporates until finally the particles touch each other and the shrinkage stops; (2) the remaining water
in the pores then dries out with no further shrinkage; and (3) absorbed water on
the particle surface disappears.

18

19

Below are Scanning Electron Microscope Pictures of Kaolinite

Intestratified with Illite.
http://www.smianalytical.co.za/clay-analysis.html

{FabClay}

Material

Material

{FabClay}

PLASTICITY

MATERIALS

SHAPE

WATER
350 ml

CLAY

1000gr

RESULT

PLASTICITY ALLOW
THE PRESERVATION
OF THE FORM OF CLAY

LINE OF
CLAY WITH CRACKS
[TORSION]

EXAMPLE

PLASTIC
1 ml

LINE OFCLAY
WITHOUT CRACKS
[TORSION]

EXAMPLE

10%

WATER

15%

WATER

90%
0%

CLAY
PLASTIC

85%
1%

CLAY
PLASTIC

EXAMPLE

EXAMPLE

2
20

COMPONENT

15%

WATER

20%

WATER

85%
0%

CLAY
PLASTIC

80%
1%

CLAY
PLASTIC

21

{FabClay}

Material

Material

{FabClay}

VISCOSITY
MATERIALS

WATER
350 ml

MIXED

CLAY
1000gr

RESULT

SEMIENTACION
PREVENTS THE CLAY
AND CONTRIBUTE
TO THE UNION OF
ITS MOLECULES

SEDIMENTATION
SEDIMENTATION
CLAYAND
AND WATER
CLAY
WATER

22

COMPONENT

EXAMPLE

VISCOSITY
1 ml

CLAY AND WATER

WITH
VISCOSITY

EXAMPLE

WATER

WATER

CLAY
VISCOSITY

CLAY
VISCOSITY

EXAMPLE

EXAMPLE

WATER

WATER

CLAY
VISCOSITY

CLAY
VISCOSITY

23

Material

Material

0 }

{FabClay}

WATER

CLAY [ CHEMICAL ]

0,00 ml

10,00gr 1,00 ml 1,00 ml

level

water

PREPARATION

clay

viscosity plastic

ASPECT

SCALE BY 1K

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

powder

{FabClay}

Our first material test was very important in way to confirm our knowledge of
chemical behav- ior of the clay. As we expected to have as much plasticity we tried
to put as lees water as we can in order to save possibilities to shape our mixture. In
the other words, clay particles should be big and very sticky, something as plastic
shits with water between. After few tests we realized plasticity level can be reduced
by small amount of special crushed stone. Plasticity regulator opens a lot of possibilities to get good plasticity mixture, but also a lot of problem to control shape
cracking even in the early phases. Therefore viscosity regulator is necessary to still
save flexibility of clay objet.

2 }

1,50ml

clay

viscosity plastic

10,00gr 1,00 ml 1,00 ml

level

water

3 }

3,50ml

clay

viscosity plastic

10,00gr 1,00 ml 1,00 ml

level

water

4 }

4,50ml

clay

viscosity plastic

10,00gr 1,00 ml 1,00 ml

level

water

24

5 }

5,50ml

clay

viscosity plastic

10,00gr 1,00 ml 1,00 ml

level

water

clay

viscosity plastic

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

range

water

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

machine

level

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

hands

10,00gr 1,00 ml 1,00 ml

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

25

liquid

1 }

0,50 ml

hard

{CLAY}

{FabClay}

26

Thesis

Thesis

{FabClay}

27

Material

{FabClay}

TOOL

measuring balance
cup

STEPS

1 step
measure

MATERIAL

water
350ml

measuring spoon
cup

3 step

measuring
cup

puting
water
in the
material

4 step

mixer

mixing
the
material
7 min

5 step

measuring
cup

mixer

puting
water
and mixing

6 step

mixer

mixing
the
material
15 min

viscosity
1.00.gr

plastic
1.00.gr

clay
1000gr
viscosity
1.00.gr

2 step

mixing
powder
material

clay
1000gr

water
350ml

water
100ml

water
250ml

plastic
1.00.gr

clay
1000gr
viscosity
1.00.gr
plastic
1.00.gr

water
100ml

water
250ml

clay
1000gr
viscosity
1.00.gr
plastic
1.00.gr

water
100ml

water
250ml

clay
1000gr
1.00.gr
plastic
1.00.gr

water
100ml

water
250ml

clay
1000gr
viscosity
1.00.gr
plastic
1.00.gr

29

Material

Material

{FabClay}

3 }

WATER

CLAY [ CHEMICAL ]

3,50ml

10,00gr 1,00 ml 1,00 ml

level

water

30

clay

viscosity plastic

ASPECT

SCALE BY 1K

clay 1000gr
water 0,00ml
plasticity 0,00ml
viscosity 0,00ml

31

Process of mixing clay

machine

{FabClay}

{FabClay}

Material

Material

{FabClay}

RAKU OVEN

FIRE

CRUSHED STONE

RAKU OVEN
{BAKE}

DOOR

SMOKESTACK

Raku,is an oriental technic from the 16th century, it is believed to have been originated in Coria but it prospered in Japan and has extended throughout the world,
apparently thanks to the tea ceremony. The word Raku means happiness. It is a
method of creating effects with colors and textures with enamels or simply with
smoke, rapidly fired and cooled while still in the oven. The clay used for Raku must
be prepared with a high percentage of sand or grog to resist rapid changes at the
extreme temperatures. A good choice of the clay to be used will avoid the risk of
breakage.
The firing of the enamels is done in gas or wood fired kilns. The enamels and colors
are fired be- tween 800 o and 1000 o C with rapid firing, reaching the right temperature in 15 to 30 minutes, then the kiln is opened and the pieces that are red
with heat are taken out. When a piece is taken out of the kiln and it is exposed
to the air, it is put, for a short while, into a metal bucket, half full of sand or dry
leaves, sufficient for the reduction of heat and smoke to penetrate into the piece
and transform the colors, enhancing the crackled enamel due to the heat crash,
which is quite common in this enamel technic. Next it is rapidly cooled down, for a
short time in another bucket with water, washing out at the same time the smoke
stuck to the enamel.

SMOKESTACK

OVEN
TEMPERATURE
900 C (1,650 F)

32

33

DOOR

FIRE

CRUSHED STONE

{FabClay}

Material

Material

{FabClay}

Besides the work done with classic enamel, brilliant and crackled, we also have the
naked or lost enamel Raku technic, on which the engobe will not adapt itself to the
holder making the enamel loose at the end of the process, and only the drawings
produced by the smoke will re- main, which can be induced by chance (crackled)
or by the work of the ceramist.
There is also the technic known as matt copper, thanks to which with an over
loaded copper enamel we manage to get a matt finish thanks to the wide color
variety which copper develops in a reducing atmosphere. The oven can be loaded
from the top or at the front, although the most recommended is the one by which
the body of the oven lifts, thanks to pulleys, and the pieces are left at the top easily
workable. This procedure produces smoke, so it must be done in the open air. To
get the pieces out of the oven you must use long pincers and protect yourself with
spectacles and heat gloves.

34

35

Raku Oven
http://www.godfrieddols.nl/portfolio/potterie/

{ MACHINE }

ROBOTIC
Arduino
http://www.arduino.com

{FabClay}

MACHINE

Material

{FabClay}

ADDITIVE
MANUFACTURING
PROCESS
{DEPOSITION}
Additive manufacturing is defined by ASTM as the process of joining materials to
make objects from 3D model data, usually layer upon layer, as opposed to subtractive manufacturing meth- odologies, such as traditional machining. Additive
manufacturing is also known as rapid pro- totyping, additive fabrication, layer
manufacturing, freeform manufacturing and 3D printing. Additive Manufacturing
is thus a process to manufacture parts rapidly by taking a 3D model of a part,
slicing that model into thin layers and then building that part layer-by-layer in a
machine, choosing from a variety of materials. AM allows a user to print a physical representation of any CAD model. Depending on the AM process used, the part
can be manufactured in a range of materials and can be used in a number of applications.
The technology is historically known as Rapid Prototyping. This is due to the fact
that prototyp- ing was the main use of the manufactured parts. The main advantages of the process were that prototypes could be manufactured with no tooling
and with very short lead times (compared to conventional manufacturing technologies). However, recent advances in the technology al- lows users to manufacture
parts from real engineering materials such as Nylon, Polycarbonate, ABS and even
metals such as titanium, aluminium, stainless steel etc. These recent advances
have allowed AM to be used as a production manufacturing process, rather than
being only a prototyping tool.

38

39

www.rapdasa.org/index.php/about-additive-manufacturing

{FabClay}

MACHINE

MACHINE

{FabClay}

DEPOSITION

MACHINE CONTROL
{ HORSE}

NOZZLE EJECTING
MOLTEN MATERIAL

40

DEPOSITED MATERIAL

X,Y,Z {3D SPACE}

41

{FabClay}

Material

Material

{FabClay}

BEHAVIOR OF THE
MATERIAL IN THE
NOZZEL

{MACHINE}

Rapid prototyping with clay is basically reflected trough machine and material behavior with intention reach as much as possible digital control. In our case pressure of the air and nozzle gives us possibilities to extrude clay. The experiments
on the first begging showed us great suc- cess in terms of digital control machine,
but that was not case with material. Our experiments started to be very complicated and information form experiments are very carefully sorted and annualized.
For example, one milliliter of water or faster movement of machine can change all
results.

42

43

{FabClay}

44

STEP
MIXED
MATERIAL

STEP
FILLING
MATERIAL

MACHINE

MACHINE

{FabClay}

3
pot

spoon pump

4
pot

spoon pump

STEP
PLUGGING
NOZZLED

pot

spoon pump

STEP
NOZZLED
READY

pot

spoon pump

45

{FabClay}

MACHINE

MACHINE

{FabClay}

PUMP {AIR SYSTEM}

AIR { IN }
ELECTROVALVE
AIR { OUT }

CAP PVC
50 mm
CONNECTION PVC
50 mm

PIPE ACRYLIC TRANSPARENT

50 mm

AIR COMPRESS

MATERIAL {CLAY}
CAN WE MAKE OUR EXTRUDER?. Before we started build our extruder for the
clay we knew that it should be very resisted on the pressure of the air. As most
important parameter in extruding clay, air and cycle of the air are main parameter
in design pump for extruding. In order to have fully control of the process means
that pressure of the air should be automatically reduced according to layer properties. For example, thickness of the extruded layer is directly related to pressure of
the air. Electro valve has possibilities to reduce pressure of the air and control how
long air is inside extruder, what is very important because amount of material inside of the nozzle is not always same. All of experiments what we did with pressure
and extruder are important because they are pro- ducing the main parameter and
variables for machine-material control.

46

REDUCTION PVC
50 mm - 30 mm
REDUCTION PVC
30 mm - 1/2

METAL REDUCTION {FOR AIR}

3/4-6 mm

METAL CONNECTION {FOR AIR}

1/2
METAL REDUCTION {FOR AIR}
1/2-3/4
47

{FabClay}

EXAMPLE

48

3 4

EXAMPLE

EXAMPLE

EXAMPLE

EXAMPLE

EXAMPLE

EXAMPLE

EXAMPLE

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

700ml

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

100gr
1gr
1gr

4br

4.5br

3br

2br

2.5br

2br

3br

2br

3br

2br

2br

2br

2br

2br

2br

2br

2.5br

2br

2.5br

10mm

10mm

10mm

20mm

10mm

10mm

20mm

10mm

15mm

15mm

10mm

10mm

10mm

10mm

10mm

15mm

15mm

30mm

10mm

13mm

24mm

10mm

8mm

10mm

9mm

12mm

9mm

14mm

7mm

8mm

10mm

5mm

10mm

50mm

5mm

5mm

5mm

15mm

thickness

thickness

thickness

thickness

distance base
thickness

distance base
thickness

EXAMPLE EXAMPLE

10 11 12 13 14 15 16 17 18 19

700ml

distance base

EXAMPLE

8 9

700ml

distance base

EXAMPLE

700ml

distance base

EXAMPLE

700ml

thickness

EXAMPLE

{FabClay}

700ml

distance base

EXAMPLE

MACHINE

700ml

distance base

EXAMPLE

MACHINE

distance base
thickness

distance base
thickness

EXAMPLE

distance base
thickness

EXAMPLE EXAMPLE

distance base
thickness

distance base
thickness

distance base
thickness
OPEN / CLOSED

EXAMPLES OF PRESSURE OF AIR WITH A LIQUID MATERIAL {AIR SYSTEM}

distance base
thickness

distance base
thickness

distance base
thickness

distance base
thickness

distance base
thickness

49

distance base
thickness

{FabClay}

50

MACHINE

MACHINE

{FabClay}

51

{FabClay}

MACHINE

MACHINE

{FabClay}

NOZZLE
{DEPOSIT MATERIAL CONTROL}

Experiments with digital deposit material control started on the 2D CNC machine,
compressor, one computer and nozzle (pump). Extruding technique was taken
from food industry where this pneumatic process is very common. The first aim
in this part was to investigate differ- ent material result according to different machine movement. Pressure and stroke of the air is contorted digitally with Arduino
board with security manual valve. Starting from this part, this project tends to be
independent unit ready to be used on wherever construction site and project challenge as less people involve in process. Therefore, digital control of the machine is
manly important for this project.

52

53

{FabClay}

54

MACHINE

MACHINE

{FabClay}

55

{FabClay}

MACHINE

MACHINE

{FabClay}

NOZZLE

ELECTROVALVE

AIR PRESSURE
COMPRESSOR

ARDUINO

PARTS OF THE PUMP SYSTEM

BUTTON { ON / OFF}

PUMP {MATERIAL CLAY}

PART

B
PART

PUMP
METAL NOZZLE

ACRYLIC HOLDER
ARDUINO
TRANSFORMER
BUTTO ON/OFF

C
PART

D
PART

VALVE AIR
OPEN/CLOSE 3/4
VALVE PRESSURE 3/4
PIPE 3/4
PRESSURE CLOCK 3/4

COMPRESSOR
OF 10br

MACHINES
56

57

{FabClay}

58

MACHINE

MACHINE

{FabClay}

59

{FabClay}

MACHINE

MACHINE

{FabClay}

MACHINE CONTROL MATERIAL

CONTROL

{HORSE}

First part of digital control consisting of generating from or model in the CAD software such as Grasshopper (www.grasshopper3d.com). Mathematical algorithm
allowed us to produce form and in the same time translate code in the machine
language. Processing (www.processing. com) one more coding platform is tool for
hacking machine and platform to accept machine coordinate and execute them in
physical machine movement.
For the second part of the project we used KUKA Robot, who allowed us bigger
form, as this ma- chine has bigger work range, and in the same time more control
of the speed and all machine process. We used Grasshopper for the generating
from, G-Code, and in the same time driving machine.

60

61

{FabClay}

Thesis

Thesis

{FabClay}

COMPUTATIONAL BEHAVIOR TO DEVELOP G- CODE FOR EACH MACHINES

{KUKA - SHOPBOT}

definition digital tectonis 2011

62

63

{FabClay}

MACHINE

MACHINE

{FabClay}

G-CODE {SHOPBOT}

EXAMPLE

A
y

PROPERTIES

700ml
100gr
1gr
1gr
3br
15mm

distance base

EXAMPLE

B
y

700ml
100gr
1gr
1gr
3br
15mm

distance base

EXAMPLE
C

z
y

700ml
100gr
1gr
1gr
3br
15mm

distance base

EXAMPLE

D
y

700ml
100gr
1gr
1gr
3br
15mm

distance base

EXAMPLE

E
y

700ml
100gr
1gr
1gr
3br
15mm

distance base

z
64

EXAMPLE

F
y

700ml
100gr
1gr
1gr
3br
15mm

distance base

65

{FabClay}

66

MACHINE

MACHINE

{FabClay}

67

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {SHOPBOT}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

max

max

2 br

1.8 br

3 mm

MATERIAL SECION

8mm

material viscosity

68

MATERIAL BEHAVIOR

material viscosity

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
PLANT

RESULT
PLANT

69

{FabClay}

70

MACHINE

MACHINE

{FabClay}

71

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {SHOPBOT}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

max

max

2 br

3 br

3 mm

MATERIAL SECION

3 mm

material viscosity

72

MATERIAL BEHAVIOR

material viscosity

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
PLANT

RESULT
PLANT

73

{FabClay}

MACHINE

MACHINE

{FabClay}

PERFORMACE MACHINE 0%

PERFORMACE MACHINE 40%

PERFORMACE MACHINE 1%

PERFORMACE MACHINE 60%

74

75

PERFORMACE MACHINE 20%

PERFORMACE MACHINE 99%

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {SHOPBOT}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

max

max

4 br

1.5 br

3 mm

MATERIAL SECION

3 mm

material viscosity

76

MATERIAL BEHAVIOR

material viscosity

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
PLANT

RESULT
PLANT

77

{FabClay}

MACHINE

MACHINE

{FabClay}

PERFORMACE MACHINE 0%

PERFORMACE MACHINE 40%

PERFORMACE MACHINE 1%

PERFORMACE MACHINE 60%

78

79

PERFORMACE MACHINE 20%

PERFORMACE MACHINE 99%

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {KUKA}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

MATERIAL BEHAVIOR

max

max

3 br

3 br

TOP

MATERIAL SECION

TOP

2 mm

2 mm

shrinking

shrinking

material viscosity

material viscosity

RESULT
TOP

RESULT
TOP
RIGTH

80

90

RIGTH

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
FRONT

RESULT
FRONT

75

81

{FabClay}

82

MACHINE

MACHINE

{FabClay}

83

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {KUKA}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

MATERIAL BEHAVIOR

max

max

3 br

3 br

TOP

MATERIAL SECION

TOP

2 mm

2 mm

shrinking

shrinking

material viscosity

material viscosity

RESULT
TOP

RESULT
TOP
RIGTH

RESULT
PERSPECTIVE

60

RIGTH

58

RESULT
PERSPECTIVE
FORCE OF
GRAVITITY

RESULT
FRONT

84

RESULT
FRONT

85

{FabClay}

86

MACHINE

MACHINE

{FabClay}

87

{FabClay}

Material

Material

{FabClay}

CONTROL MACHINE {KUKA}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

max

max

3 br

3 br

2 mm

material viscosity

MATERIAL SECION

2 mm

TOP

shrinking
material viscosity

TOP

shrinking

RESULT
TOP

RESULT
TOP
RIGTH

88

MATERIAL BEHAVIOR

80

RIGTH

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
FRONT

RESULT
FRONT

CURVATURE

89

{FabClay}

90

Material

Material

{FabClay}

91

{FabClay}

Material

Material

{FabClay}

CONTROL MACHINE {KUKA}

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

G-CODE

max

max

3 br

3 br

2 mm

material viscosity

MATERIAL SECION

2 mm

TOP

shrinking
material viscosity

TOP

shrinking

RESULT
TOP

RESULT
TOP
RIGTH

92

MATERIAL BEHAVIOR

CURVATURE

RIGTH

RESULT
PERSPECTIVE

RESULT
PERSPECTIVE

RESULT
FRONT

RESULT
FRONT

CURVATURE

93

{FabClay}

94

Material

Material

{FabClay}

95

{FabClay}

MACHINE

MACHINE

{FabClay}

CONTROL MACHINE {KUKA}

FABRICATION

G-CODE

MATERIAL BEHAVIOR

MATERIAL SECION

max

3 br

2 mm

material viscosity

TOP

shrinking

RESULT
TOP
RIGTH

CURVATURE

RESULT
FRONT

96

97

{FabClay}

98

MACHINE

MACHINE

{FabClay}

99

{FabClay}

MACHINE

MACHINE

{FabClay}

CONCLUSION OF THE MACHINE - MATERILA PROCESS With first experiment

where we started to control extruding and movement machine we real- ized that
pressure of the air, distance nozzle from extruded layer and properties of clay mixture give us rules according which we can conclude is it experiment success or
not. It is obvious that all of these parameters are in relation, so if increase pressure
of the air and still want to have control of the results, we need to increase as well
speed of machine. This kind of play with fabrication parameters gives us possibilities to stick layers on the top of each other. Rectangle example with diagonal and
without diagonal opens us possibilities to think about geometry of the layer section. So if we want to build more in the height we need more ellipse section, but
that brings less effective manufacturing process.
Experiment with inclination limit with simple circle open us great new possibilities
to print clay with angle up to 60 %. Still section of the wall object of the clay is important, if we have more pressure we have more stronger wall what results more
inclination. Defining this security level of the section is first imputing for digital
simulation, what open great possibilities to optimize amount of material but still
save form possibilities for demand form finding.
Still in this phase we are led by our intuition, so experiment with overlapping points
inside of each layer give us even bigger inclination and higher structure. We can
say this was solved problem of two previous experiments where we have G-code
with very simple geometry of get- ting higher and bigger inclination. This gives us
huge polygon of playing not only with machine and material parameter, but also
with specific characteristic of digital geometry input.

100

101

{ CONTINUOS }

FABRICATION

{FabClay}

FABRICATION

FABRICATION

{FabClay}

PROCESS OF A EPICYCLOID

CONTINUOUS
FABRICATION

-6

-5

-4

-3

-2

-1

-6

-5

-4

-3

-2

-1

-1

-1

-2

-2

-3

-3

-4

-4

-5

1 step

{EPICYCLOID}

Epicycloid is a plane curve produced by tracing the path of a chosen point of a

circle - called an epicycle - which rolls without slipping around a fixed circle. It is
a particular kind of roulette. Parametric mathematical equation of the epicycloid
gives us possibilities to implement mate- rial rules in the digital model of machine
movement. Number of the interpolated points of the layer and their relations such
us distance from each other, or density in particular zone of the section are rules
defined by material properties.

-1

-6

-5

-4

-3

-2

-1
-1

-1

-2

-2

-3

-3

-4

-4

2 step

-2

-3

-4

-5

-6

-6

The main characteristic of the project is how to translate 2D layer to 3D shape,

in other words, how to harmonize machine movement and material behavior in
order to build 3D shapes. Sim- ple experiment with shape get from eight movements, served us to conclude that if we overlap layer in the same level we can get
more structural effect of the build shape. Certainly, behind patterns of the machine movement, eight shapes help us to understood material behavior in particular scale, for example drying time, properties of the mixture etc. All of these
parameters are rules of the coding softer for generating families of the patterns.

-5

3 step

-6

-5

4 step

-6

FORMULA OF EPICYCLOID

-5

-6

LR= Lr
r cos(+ )

Parameter what defined scale of the epicycloid is drying time what is in relation
with thickness of the layer. For example, if time of executing one layer is less than
drying time of same layer we need to change path to avoid collision and bad binding of two layers. Creating families of the one particular pattern of the epicycloid
open as well possibilities to make different kind of

104

r sin(+ )
(R+r)sin

Y
(R+r)cos

R*((1-k)*cos(t)+l*k*cos(((1-k)/k)*t))
R*((1-k)*sin(t)-l*k*sin(((1-k)/k)*t))

105

{FabClay}

FABRICATION

FABRICATION

{FabClay}

EPICYCLOID

k = 0.67
R = -56
l = -12

k = 0.53
R = -30
l = -2

k = 0.727273
R = 11
l = 0.4

k = 0.082
R = -25
l = -2

k = 0.04
R = -13
l = -2

k = 0.45
R = 56
l = -5

k = - 3.4
R = -7
l = -1

k = 0.72
R = 11
l = 0.4

k = 0.2
R = -25
l = 0.4

k = 0.08
R = 59
l = -7

k = 0.059
R = 67
l = -3

k = 0.85
R = 64
l = -1

k = -67
R = -98
l = 0.4

k = 0.43
R = -30
l = -4

k = 0.85
R = 64
l = -1

106

107

k = 0.34
R = 130
l = -1

k = 0.56
R = 25
l = -5

k = -1.21
R = -46
l = -4.2

k = -0.42
R = -61
l =2

k = 0.727273
R = -185
l =5

{FabClay}

FABRICATION

FABRICATION

{FabClay}

EPICYCLOID

-12

108

-11

-10

-9

-8

-7

-6

-5

-4

-3

-2

12

12

11

11

10

10

-1

10

11

12

-12

-11

-10

-9

-8

-7

-6

-5

-4

-3

-2

-1

-1

-1

-2

-2

-3

-3

-4

-4

-5

-5

-6

-6

-7

-7

-8

-8

-9

-9

-10

-10

-11

-11

-12

-12

SPIROGRAPH
David Little
Mathematics Department
Penn State University
http://www.math.psu.edu/dlittle/java/parametricequations/spirograph/index.html

10

11

12

109

{FabClay}

FABRICATION

FABRICATION

{FabClay}

COMPUTATIONAL
{OPTIMIZATION}

OPTIMIZATION
{PROCESS}

MACHINE CONTROL

In order to get smart independent material-machine process, translation rules of

the material and machine experiments in the digital environments is important
step. Scripting as tool for this process opens great possibilities to implement all
this parameter in one whole and then simulate all experiments for which we dont
have time, or even check they relevance for the pro- ject. This simulation consist
parametric generator of the pattern, rules for the inclination, differ- ent type of
material and simulation movement of many nozzle. These rules are represented
in securities levels which are checking limits of build ability of the model. In the
simulation we are able to change material what represent different pressure of the
air or different viscosity of the mixture. With digital simulation we are trying to find
relation between pattern and inclination limits, indeed length of layer and angle
limit degree and still saving possibilities to check mate- rial properties influence.

110

MACHINE EXPERIMEN
REAL EXPERIMENTS
DIGITAL SIMULAITION

FROM 2D TO 3D
MODEL ADJUSTMENT

DIFFERENT SCENARIOS

DESING
NEW EXPERMIMENT

111

{FabClay}

FABRICATION

FABRICATION

{FabClay}

1 STEP - ANALYSIS OF EXAMPLES WITH ANGLES SELF-INTERSECTIONS

{DIGITAL SIMULATION}

ANGLE

k =1
R = 25

k =4
R = 25

k = 5.5
R = 25

k = 7.2
R = 25

k = 2.1
R = 25

112

{10

ANGLE

{30

ANGLE

{45

ANGLE

{60

ANGLE

{75

113

{FabClay}

FABRICATION

FABRICATION

{FabClay}

SIMULATION OF EPICYCLOID IN THE PROCESSING

{DIGITAL SIMULATION / INTERFACE}

Start Bulding
Simulation
Stop To Bulding
Simulation
Epicicloide
Radius
Inclination
Material
Simulation
Nozzle
Material Falling
Simulation

SIMULATION OF EPICYCLOID IN THE PROCESSING

STEP BY STEP

114

115

{FabClay}

FABRICATION

FABRICATION

{FabClay}

2 STEP - ANALYSIS OF EXAMPLES WITH ANGLES SELF-INTERSECTIONS

{DIGITAL SIMULATION}

INCLINATION 69 %
K = 11.3

INCLINATION 50 %
K = K12
REVELANCE

REVELANCE

MANIFACTURING

MATERIAL

MULTICRITERIA OPTIMIZATION

MANIFACTURING

54%

MANIFACTURING

80%

MATERIAL

0%

AMOUNT OF MATERIAL

33200 cm3

BUILDING INFORMATION

71%

MANIFACTURING

71%

MATERIAL

41%

AMOUNT OF MATERIAL

100%

1435 cm3

BUILDING INFORMATION

100%

INCLINATION 65 %
K = 8.5

INCLINATION 58 %
K = 28

REVELANCE

REVELANCE
MANIFACTURING
MULTICRITERIA OPTIMIZATION
MANIFACTURING
MATERIAL

116

MATERIAL

MULTICRITERIA OPTIMIZATION

AMOUNT OF MATERIAL
BUILDING INFORMATION

MANIFACTURING

MATERIAL
54%
89%
0%
13955cm3
89%

MULTICRITERIA OPTIMIZATION
MANIFACTURING
MATERIAL
AMOUNT OF MATERIAL
BUILDING INFORMATION

MATERIAL
3.4%
34%
0%
5408cm3
34%

117

{FabClay}

FABRICATION

FABRICATION

{FabClay}

2 STEP - MULTICRITERIA OPTIMIZATION OF MACHINE OF MATERIAL

PROCESS THROUGH INCLINATION AND PATTERNS {DIGITAL SIMULATION}

INCLINATION 45 %
K = 6.3

INCLINATION 45 %
K = K10
REVELANCE

REVELANCE
MANIFACTURING

MATERIAL

MULTICRITERIA OPTIMIZATION

MANIFACTURING
15.4%

MANIFACTURING

100%

MATERIAL

7.4%

AMOUNT OF MATERIAL

4604 cm3

BUILDING INFORMATION

71%

MANIFACTURING

51%

MATERIAL

78%

AMOUNT OF MATERIAL

100%

1109 cm3

BUILDING INFORMATION

51%

INCLINATION 25 %
K=2

INCLINATION 25 %
K = 10

REVELANCE

REVELANCE
MANIFACTURING
MULTICRITERIA OPTIMIZATION

118

MATERIAL

MULTICRITERIA OPTIMIZATION

MANIFACTURING

MATERIAL
35%

MANIFACTURING

100%

MATERIAL

29.7%

AMOUNT OF MATERIAL
BUILDING INFORMATION

3505cm3
100%

MULTICRITERIA OPTIMIZATION

MATERIAL
91%

MANIFACTURING

90%

MATERIAL

92%

AMOUNT OF MATERIAL
BUILDING INFORMATION

326cm3
90%

119

{FabClay}

FABRICATION

FABRICATION

{FabClay}

CONCLUSION OF THE OPTIMAZATION First level of optimization process is checking how much our digital model is far away from the real experiments. This process
is called model adjustment process, where generic algorithm using random values to correct result of digital simulation. Second level of optimization process is
using results from model adjustment, indeed use rules of physical experiments
to digitally check random pattern and random inclination limits. Again using genetic algorithm allows calculating build possibilities of the experiment, amount of
ma- terial and multicriteria optimization. All of this parameter are in relation with
pattern, so if we are using more interpolated points inside 2d layer and building
small angle, we know that this is successful 100 percent. But if we know that we
are using too much material for not demanding angle we are considering that this
experiment is not optimized trough material but is trough manufacturing criteria.
Therefore we can sort particular equation of movement of machine for the particular project what confirming relation of the interpolated points with freeform level.

120

121

{FabClay}

FABRICATION

FABRICATION

{FabClay}

FABRICATION
{COLUMN}

Fabrication of the column is process based on the small experiments and digital
simulation model. First experiment is done on the CNC machine with limited zaxis height what allows only check how many point we can overlap and avoid collision of the overlapped layers. Also we still have ideas how to change parameters of
epicycloid, but only in digital model, because of CNC scale limit. Biggest challenge
after switching to KUKA robot is how to translate all our results and rules in the bigger scale. Parameter such as drying time or number and distance from each interpolated points inside patterns are changed in this new process. Therefore, we are
bring- ing new decision in terms of fabrication such as holes inside or limit of the
freeform in order to reduce amount of the material and machine time executing.
In this moment all fabrication are indeed design parameters which are defending
eventually architectural proposal.
Last fabrication experiment is investigating eventually possibilities to print double
wall, where we will able to burn our model. This process is not only demand trough
success of fairing, but also to fabricate. Pattern of the oven doesnt have any more
too much support from inside walls, now all structural forces are orientated to the
surface walls, what resulting lover freeform

122

123

{FabClay}

FABRICATION

FABRICATION

{FabClay}

COMPUTATIONAL AND PHYSICAL PARAMETER TO FABRICATE

A COLUMN {FABRICATION AT REAL SCALE}

SECCIONS CONNECTIONS

PATH TO G-CODE

MATERIAL BEHAVIOR
max

4 br

DESCRIPTIONS
COMPUTATIONAL
G-CODE FROM GRASHOPPER
AND KUKA-PRC
FABRICATION
LENGTH OF PATH 83.463 mts
TIME FABRICATED 26 HOURS
MACHINE KUKA
NOZZLES 30

4 PATH

Epicycloid
2 mm

material viscosity

3 PATH

Epicycloid

1 PATH

Epicycloid

124

PATH FROM
THE G-CODE

3D MODEL

125

{FabClay}

126

FABRICATION

FABRICATION

{FabClay}

127

{FabClay}

FABRICATION

FABRICATION

{FabClay}

COMPUTATIONAL AND PHYSICAL PARAMETER TO FABRICATE

A COLUMN {FABRICATION AT REAL SCALE}

SECCIONS CONNECTIONS

PATH TO G-CODE

MATERIAL BEHAVIOR
max

4 br

DESCRIPTIONS
COMPUTATIONAL
G-CODE FROM GRASHOPPER
AND KUKA-PRC
FABRICATION
LENGTH OF PATH 15.463mts
TIME FABRICATED 2 HOURS
MACHINE KUKA
NOZZLES 4

2 mm

material viscosity

1 PATH
Epicycloid

PATH FROM
THE G-CODE

3D MODEL

128

129

MODEL
FABRICATED

{FabClay}

FABRICATION

FABRICATION

{FabClay}

PERFORMACE MACHINE 0%

PERFORMACE MACHINE 40%

PERFORMACE MACHINE 1%

PERFORMACE MACHINE 60%

130

131

PERFORMACE MACHINE 20%

PERFORMACE MACHINE 99%

{FabClay}

FABRICATION

FABRICATION

{FabClay}

COMPUTATIONAL AND PHYSICAL PARAMETER TO FABRICATE

{FABRICATION AT REAL SCALE}

SECCIONS CONNECTIONS

PATH TO G-CODE

MATERIAL BEHAVIOR
max

4 br

DESCRIPTIONS
COMPUTATIONAL
G-CODE FROM GRASHOPPER
AND KUKA-PRC
FABRICATION
LENGTH OF PATH 63.463mts
TIME FABRICATED 18 HOURS
MACHINE KUKA
NOZZLES 18

5 PATH

Epicycloid
2 mm

material viscosity

4 PATH
Epicycloid

3 PATH
Epicycloid

SECCIONS IN
THE G-CODE

2 PATH
Epicycloid

1 PATH

Epicycloid
132

PATH FROM
THE G-CODE
3D MODEL

133

{FabClay}

134

FABRICATION

FABRICATION

{FabClay}

135

{FabClay}

FABRICATION

FABRICATION

{FabClay}

COMPUTATIONAL AND PHYSICAL PARAMETER TO FABRICATE

A OVEN {FABRICATION AT REAL SCALE}

SECCIONS CONNECTIONS

PATH TO G-CODE

MATERIAL BEHAVIOR
max

4 br

5 PATH

DESCRIPTIONS
COMPUTATIONAL
G-CODE FROM GRASHOPPER
AND KUKA-PRC
FABRICATION
LENGTH OF PATH 278.5 mts
TIME FABRICATED 13 HOURS
MACHINE KUKA
NOZZLES 17

Epicycloid
2 mm

material viscosity

4 PATH
Epicycloid

3 PATH

Epicycloid

PATH FROM
THE G-CODE

2 PATH

Epicycloid

1 PATH
136

Epicycloid

3D MODEL
137

{FabClay}

138

FABRICATION

FABRICATION

{FabClay}

139

{ ARCHITECTURE }

APPLICATION

{FabClay}

APPLICATION

APPLICATION

{FabClay}

APPLICATION
{architectural}

If we can generate technologies as tool to add material rather then subtract, we

can control material composition, with that opportunities can compute various
function inside material. Process of grooving form trough layering opens great
possibilities to make different relation or properties of the each small layer, what
resulting as many different possibilities. In other words, we can define amount of
material and with new technologies let design emerge by itself.
Clay in this digitally control of material process showed as one very powerful material, all of disadvantages such as draying time or shrinking can be corrected in
digital simulation and then depend of design scenarios be implemented in fabrication process. This new digital fab- rication technique brings a lot of advantages in
terms of economy, fabrication process, self- sustainability and design. From economy point of view printing clay in scale of house, offering less people involved in
all project, low cost transport and material resources. Fabrication and design process are more interpolated ant time from making design decision and executing is
shorter. What opens as well more involved user in all process and better solution
for them. With this technologies revolution we are much more able to be involved
in rethinking of today urban landscape and brining new way of consuming our environment.

142

143

{FabClay}

144

APPLICATION

APPLICATION

{FabClay}

145

{FabClay}

146

APPLICATION

APPLICATION

{FabClay}

147

{FabClay}

148

APPLICATION

APPLICATION

{FabClay}

149

Fab(){
Clay ;
}

Developers
Starsk Lara
Nasim Fashami
Sasa Jokic
Profesor
Marta Male-Alemany
Assitents
Jordi Portell Miquel Lloveras
Santiago Martin
IaaC
Barcelona - Spain
2011 - 2012
All rights reserved
2012

Sasa Jokic
Starsk Lara
Nasim Fashmi
{ digital tectonics }
2011/2012