Scribd
Upload
230 views70 pages

Super Surfaces

Supersurfaces demonstrates the potential of folding as a method of generating forms relevan! to archi­tectural as well as industrial, product or textile design. The bOOk comprises a report of ongoing design research conducted in the context of architec­tural education. The majority of this collection of projects is drawn from design studios and work• shops that l have lnstructed between 2005 and 2006 at three academic institutions.

Uploaded by

Victoria Migliori
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
230 views70 pages

Super Surfaces

Supersurfaces demonstrates the potential of folding as a method of generating forms relevan! to archi­tectural as well as industrial, product or textile design. The bOOk comprises a report of ongoing design research conducted in the context of architec­tural education. The majority of this collection of projects is drawn from design studios and work• shops that l have lnstructed between 2005 and 2006 at three academic institutions.

Uploaded by

Victoria Migliori
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 70
acknowledgement ‘Supersurfaces demonstrates the potential of folding, ‘as a method of generating forms relevant to archi- tectural as well as industrial, product or textile design. The book comprises a report of ongoing design research conducted in the context of architec ‘ural education. The majonty of this collection of projects is drawn from design studios and work- ‘shops that | have instructed between 2005 and 2006 at three academic institutions. For enabling me to embed this research within the ‘academic curriculum | am grateful to Professor Pantelis Lazerides, Head o! the Department of chitecture, School of Engineering at the University (f Thessaly in Volos: Professor Ciye Kiang Heng. dof tho Department of Architecture, School of sign and Environment at the Netionel University ‘Singapore; and Professor Tor Barker, Head of Department of industrial Design Engineering of Royal College of Artin London. ir support and contributions during the Of this publication I would like to thank ine Galanopoules, Thanasis Totsikas, Yoto 1, Constantine Kyriazopoulos, Zoe Vatti and |. For priceless advice on the English texts, d to David Greensett Robson. From paperfolds to object-space prototypes Since the early 1990s, the notion of surface has evolved into a formal trait in avantgarde architectural discourses. Conceptualized within the Deleuzian ontology of ‘the fold’, i hhas become associated with diagremmatic tochniques and digital morphogenesis, prolifically materializing in the pro- {ected end the built through continuity, curvature, smooth layering and manipulations of the ground.’ In the semantic network of present progressive architectural language, the verbs ‘folding’ and ‘unfolding’ manifest high conceptual con- nectivity. Browsing through the dictionary of advanced archi- tecture’ reveals the ubiquity of the terms, making explicit the establishment of a design world constituted by notions ‘of surface, folding and unfolding, topology, land strategy, ‘dynamic trajectories, flexitiliy, obliquiy, systems, devices, paradoxes, origami, bends and unbendings, braids, collin, {and contertionisms. ‘The design research in Supersurfaces explores the potential ‘of paper folcing 2s a method of form generation, conscious- ly attending to literal transcripts of the practice. As a matter of fact, the term ‘paperfold’ is a neolegism; a synthetic ‘word introduced here to describe the end result of a paper: folding session. In Supersurfaces, paperrolis are investigat- €d as physical artifacts: how they are made, how we can ‘mode! them, what their intrinsic properties are, and how they can be productive within a design methadology, Paperfolds are easy to make. In the paperfolding work: shops gven at the design studios ~ whose results comprise ‘most of the contents of this publication ~ we adopt a ‘just o (fold) it’ approach. We follow a stepby-step procedure ‘engaging simple rules. The basic paperfold algorithm entails the following: start with a fiat paper surface ‘transform the paper surface [cut, score, crease, fold, ‘twist, revolve, col, tum, rotate, pleat, pull, push, wrap, Bierce, hinge. knot, weave, compress, stretch, unfold... ‘+ end with a three-dimensional paper surface. ‘There are only two constraints in accomplishing the paper- fold algorithm; maintaining cortinulty of the surface, and fixing without sticking. As a consequence, paperfolds have the potential of retrieving a ‘lat-plane state’ ~ comprising in ‘mathematical terms ‘developable surfaces'.* Paperfolds are dificult to model. Describing paperfolds solentfical, abstracting and representing their intrinsic ‘morphology to a level of generalization, would essentially require mathematical formalization. in Supersurfaces. ‘expianatory models of papertolds demonstrate the step-by- step procedure of transforming a fat plane into a thres- ‘dimensional surface; in other words, through algorithms.’ Rather than describing the formal characteristics of the end result, the focus is on the process, on understanding the Origin and evolution of the artifact. Generating the paperfold algorithm is an improvisational ‘method that has proven to be fundamentally sound in the Context of design education. The language of paperfold algorithms is not formal; itis a combination of geometry, procedural instructions, ‘how to’ and visual narratives. “Playing back’ the paperfold algorithm is essential in undor standing surface transformations. The primary objectives ‘are comprehension and the specification of chains of opera- tions that are executed in ordered sequences leading to the threedimensional object. Unfolding back to the fiat plane reveals the object's generative pattern. A sufficient descrip- tion of a paperfol, its basic modol, includes a flatstate patter and an aigerithm of transformative operations. Paperfolds are protean: variable, mutable, adjustable, fluctu- ‘ating: one papertold is potentially several. When reconfigur- ing the order in the chain of surface transformations of the ‘generative algorithm, one flatstate pettern may generate 6 family of paperfouds, producing a category of objects which ‘share a number of intrinsic propertes and whieh are similar ‘but not identical, The combinatorial possibilities of a plate with 5 slits and 5 strips, if each strip can pierce through ‘one slit, rotated either clockwise or counter-clockwise ‘amounts to (Sx5x2) 50 paperfolds. One ruled strip (rule-cut] \witn continuous boundaries fas the potential of becoming, an annulus [rotate], a torus [rotatezevolvel, a mobius [twist ‘90 merge edges]. a spiral [col] or a helix [twist 360°). A plate scored in a triangular grid achieves variable relief through alternating convex and concave creases. Categorization is an essential characteristic of design knowedge. in Supersurfaces, a taxonony of paperfolds is constructed on the basis of sufficient description: flatstate patterns and algorithms. In this conceptual scheme, three ‘general categories are distinguished: ‘ruling’, ‘tianguiating’ and ‘crumpling’- ‘The category of ‘ruling” primarly includes flat-state patterns of strips ruled and cut in arrays of lines that are parallel or perpendicular to their odges, as well as meanders and alternating rows. Ruling the flat plate adds elasticity to ppaperfolds and facilitates operations that result in curve- {ure, enabling steeper torsion than would be unachievable with a non-perforated paper surface. The ‘triangulating’ category includes flatstate pattems of arrays of equilateral or isosceles triangles. Here, three- imensionality is achieved by creasing along the triangle vertices with alternating concave end conwex creases, trans forming the flat plane into @ couble-corrugated surtace. TTianguiated paperfolds share the property of inextensional folding - that is, they can be packaged flat. According to Pellegrino and Vincent, ‘inextensional folding requires that whenever different creases meet at © common point there should be at least four folds, of which three have one sign, (convex or concave) and one fold has the opposite sign (concave or convex). The catogory of ‘crumpling’ includes flat-state patterns of random crease lines and irreguler facets. Crumpling is @ {gesture of minimum effor'/maximum three-dimensioral effect, explicated here by the operations: crease, press and weep. Paperolds are manipulabe: bendable, flxible, versatle and retractable. Some are able to deploy themselves, expanding, and contracting. Some achieve @ number of equiitrium states upon a plane, balancing indifferent positions. Some tetvieve several shapes, adjusting to their context. The ver- satle and polymorphic nature of paperfolds increases their Potential to generate design prototypes. The investigation of ways to make peperfolds productive within @ hands-on and Process-

You might also like