Contemporary materials and fabrication techniques: A change in the way designers think

Κostis Oungrinis and Νikos Papamanolis

Department of Architecture and Engineering,

Technical University of Crete, Chania, Greece

Contemporary Materials and Fabrication Techniques –A change in the way designers think

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Educating Architects towards Innovative Architecture324

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Κostis Oungrinis and Νikos Papamanolis 325

AbstractThe wide “landscape” of contemporary materials increasingly affects the way archi-

tects think and consequently design. The abilities that those materials exhibit, influence

not only the materiality of architecture but also the forms produced, as these are per-

ceived by people. There are two main categories of materials that lead this trend: firstly there are high performance materials that usually consist of diverse matter combina-

tions in order to achieve higher attributes, and secondly, there are “smart” materials that have the ability to change their molecular structure in order to alter their character-

istics and their energy signature.

This research and design direction is the subject of the course “Contemporary Materi-

als and Fabrication Techniques” that aims to familiarize the students with this expand-

ing field. The Watercube’s shell, Blur’s obscure silhouette, Prada’s Epicenter partitions, almost the whole work of Herzog and de Meuron, and many other projects that bring a new “materiality” facilitate the message given. Materials alter the architectural “land-

scape” exponentially, both aesthetically and functionally. They can also be responsible

for radical, real time morphological changes and even “transparent” interfaces, leading

to a totally new spatial experience.The paper presents the teaching approach which mainly focuses on how young stu-

dents can control and exploit this potential. It analyzes the parameters architects should

think of prior to implementing the appropriate material combinations and, moreover,

the design specifications that would preferably lead to the creation of a new one. The educational goal lies in that students understand the field in its broader sense, being

exposed to the types of materials and their attributes, their ability to be combined, as

well as techniques of fabrication and assembly. The goal is to incite the interest and un-

derstand the know-how in order for students to develop their own relationship with this field. The paper presents the way the course is set and what its impact has been on the students so far.

What Matters Today?Materiality has always been the “real” effect of architecture. While the design process

was always virtual, looping around concepts, ideas, notions and feelings, the tangible part of it, and especially its limits in space, is the main effect of its presence. History

reveals that these limits were more rigid and robust but gradually became more elegant during time. The catalyst for this process of sophistication is the ability to handle matter

in a more efficient, way. The understanding of the nature of matter and the de-codifica-

tion of the laws that affect it enabled a more elaborate manipulation of this “essence” of reality. Since the industrial age, which provided the equipment, and the radical evolution of science, which provided the insight, the developments in building technology were such as to facilitate a variety of forms and the emergence of new theories of architecture.

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The most recent example is the influence of information technology (IT) that affected the whole scope of the design field. The ability to deconstruct nearly anything to dis-creet entities with certain value and to re-assemble them in any way possible through a medium, provided a tool, or even more than a tool, to manipulate data, analyze it and

then organize it to an architectural composition. While the direct link between archi-tecture and IT is pinpointed by its effects in the design process, other links, also very

influential, came from diverse fields such as industrial automatic fabrication processes

and material experimentations. Gehry’s work is a strong example regarding how in-

novative fabrication methods affect architecture while Herzog and de Meuron’s design would not be the same if they did not had a significant palette of materials to express

themselves with. The impact of this new materiality is emerging exponentially on

every aspect of people’s lives, rendering

the ability to handle it a beneficial skill.

The course focuses on these two fields and the way they are integrated in the architectural thinking and practice.

The main goal is to present how these fields expand and demonstrate how to navigate through them. The course fol-

lows a systematic approach to provide a “way of thinking” when researching the appropriate materials for a project.

Course Structure - Following a path from the smallest scale to architectur(e)alThe teaching approach of the course mainly focuses on how young students of archi-

tecture can creatively control and apply materials in their design projects. By analyzing

the parameters, young architects should be able to think of the appropriate material com-

binations their concept requires and design them accordingly. Most importantly though,

the course aims to provide them with the ability to design certain specifications that would preferably lead to the creation of new ones, both materials and fabrication methods.

The course identifies the two main fields, materials and fabrication techniques, but presents them in conjunction, in order to demonstrate the fact that they act as a singular

process. For organizational reasons, each week’s lecture has a theme, a particular group of materials or a fabrication technique. The general outline of each lecture is the following:

• Historical development and recent research around it

• Properties and characteristics, as well as processes to be manufactured/shaped with• Phenomenological paradigms• Application paradigms focusing on methods of construction and assembly

Figure 1. Blur project by Diller and Scofidio.

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• Know-how (steps) for implementation• Analytical case studies

The lectures are organized also in four general topics, presenting the case through a

certain point of view. These topics are:• :: Classification and Analysis• :: High Performance Materials• :: Smart Materials

• :: Fabrication Techniques

These topics are presented analytically in the following chapters.

Dividing the (almost) finite expanse The number of available materials today while finite seems infinite to handle, reach-

ing more than 500.000. This number is also growing as it is estimated that material sci-entists develop around the globe new materials at an increasing rate. Regardless of their intimidating number, that renders an analytical presentation impossible but also use-

less, there are certain attributes that can divide them in certain categories. The course

follows the classification method of M. Ashby who divides materials according to their performance and their attributes, such as modulus of elasticity, heat transfer, acoustic

reverberation, and similar properties.

In this sense, materials can be analyzed regarding their application and how they affect the quality of space after their implementation. The fact that high performance

materials are usually hybrids, combining more than one material, can be effectively ad-

dressed in this manner, by classifying them according to attributes that identify their

“family”. Most importantly, this method of identifying critical parameters provides not

only the tools and the logic to make classifications, but also to choose the appropriate

material, among thousands, and the most appropriate ways to apply it. Along this line of examination, the materials were divided as such:

• High Performance Materials o Concrete – Ceramic – Glasso Metals

o Polymerso Wood – Paper – Fabrics

• Smart Materials

o Smart Materials I

o Smart Materials II

o Shape Memory/Change

o Smart Assemblies

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High performance materials present enhanced

properties in relation with their conventional “cous-ins”, by either integrating other materials in their

mass or surface, or by affecting the arrangement of

their molecular structure. These materials enable

the assembly of structural systems and forms that

were impossible a few years ago, because they re-

duce weaknesses and increase the potential of the parent materials.

Smart materials, on the other hand, exhibit “in-

telligent” behavior as they automatically respond to

conditions by altering their characteristics. This is

possible because these materials can be programmed

while manufactured to alter their molecular structure if certain conditions are met. Their idiosyncratic be-

havior leads to further classification according to the

type of change they perform. The classification is

based on the work of D. Schodek and M. Addington, and includes property changing (Type I) and energy exchanging (Type II) materials, followed by further sub-divisions. Shape memory materials constitute an-

other type that is able to change the material’s own position in space, by re-arranging the relative position

of its molecules. Finally, the classification based on

attributes also enables the ability to classify the com-

bination of materials and electronics, known as smart assemblies, since they exhibit certain behaviors.

A deeper look in the “heart” of matterBefore presenting paradigms of the materials

themselves and how they are applied, focusing on their visual and tactile properties, it is critical that

a deeper understanding of how they are made is shown. This analysis begins from their molecular structure and the type of connections that can be

formed between its own matter and other materi-als. In this manner, it is easy to comprehend how their attributes have emerged and what are the general characteristics of each group.

Figure 2. Materials’ property diagram.

Figure 3. Aerogel.

Figure 4. SmartWrap - OLED, OPV and PCM Film.

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The knowledge of the inner structure of a material is very helpful in order to choose

one according to the requirements set by

quickly identifying the generic group that

seems more promising. Secondly it allows the understanding of the ability of each

material to make bonds with others. cata-

log, but through thinking what they want to achieve and This is essential in order to

enable students to make their own choic-es, not from a predetermined browse the field with certain attributes in mind.

The way materials are manufactured is also presented at this point, since this

information can affect the design as well as the fabrication process that follows. It is vital to present the options available in

relation to the technical infrastructure re-

quired and the detailing needed to achieve

the set goals.

The phenomenological aspectProceeding to a larger scale, the students are brought to their main field of interest, that

includes the “how it looks” and “how it feels” part. This is a choice that is widely subjective and sometimes does not even follow the attribute requirements set for structural or other technical reasons. It is essential to architecture, though, since the overall image of a build-

ing is the main task set to an architect. In this part of the course, teaching mainly rests

on the combination of presenting materials with built paradigms that are characterized by “intense” materiality. The goal is to clarify how this affects architecture as a mean of ex-

pression. In this way, the issue of subjectivity is better addressed and matters regarding

Figure 5: Thermochromic dyes.

Figure 6. Thermoforming processes.

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concept and materialization are discussed. The scope of discussion is quite broad, ranging

from the insubstantiality of limits occurred to projects, like in Diller and Scoffidio’s Blur, to

the use of enhanced concrete mixes in the work of Zaha Hadid, and the necessity of self-healing polymers like the ones used in the inflatable structures of the Hyperbody Research

Group. The ability of a material to act and look different is also discussed here, as well as the possibility of a different type of classification based on phenomenological aspects

that the students can develop by themselves.It is also essential, in this part, to develop

an understanding of material use in relation to the environment applied. A brief discussion

around sustainability, locality and similar parameters that radically affect the choice of

materials helps students understand the diversity and the complexity of the issue. At this

point, the students are asked to make a small poster of a material they choose and would be of importance for one of their on-going studio projects. The poster should indicate the

attributes of the material and how it is incorporated as a critical element in their design.

Case Studies – Technical ParadigmsAfter the general viewpoint is given, a more detailed analysis of “how things are

done” follows. The program follows certain paradigms, as case studies, that are present-ed thoroughly. This part is integrated directly with the fabrication field and demonstrates how certain buildings have been constructed. Two to three case studies are presented for each aforementioned group to address key issues regarding the materialization of a

project.The scale of the case studies varies. The choice includes a large scale building,

such as the Water Sports Stadium in Beijing, and a smaller one, usually a workshop or experimental prototype such as the projects of the F2F Continuum research program.

The issues presented are the choice of structure, the materiality of the envelope, the

manufacturing of the elements, the form processes, the handling of the required pieces

as well as the assembly process. The case studies are chosen in relation to the innova-

tion of their fabrication method.

The students are called to deal in de-

tail with these processes by designing and fabricating a small-scale product or a seg-

ment of a bigger construct. The deliverable

is made at actual size, in order to better

evaluate the efficiency and the aesthetics of

the designed item. The work is done at the Fabrication Laboratory of our Department.

Finally, the future of fabrication is pre-

sented through a variety of videos that show large scale robotic fabrication, customized

on-demand fabrication, and direct seamless Figure 7. Material developed by Koolhaas for the Prada Epicenter store.

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processes where there is no need of intermediates between the virtual model and the materialization process.

Competences achieved through assignmentsAs mentioned above, the course requires two assign-

ments, both devised to make sure that students comprehend

the different aspects taught. Work is evaluated based on the

students’ ability to browse the field of materials effectively and work through the processes of contemporary fabrication techniques. These two assignments are the following:Posters:

Each week, after the lecture, small presentations are held that relate to the eight basic categories presented earlier. One small poster, for each material/assembly chosen, is asked

from the students to present their case. Characteristics that

lead to its choice and possible applications on a studio project

they work on and other possibilities should be presented. An open discussion follows all presentations each week.Prototype:

The design and fabrication of a well-defined product or structural element form the requirements of this assign-

ment. The product given as a default exercise in the spring

semester of 2010, apart from special student preferences,

was a case for harboring the equipment of a tran-

sponder, designed and as-

sembled by students of

the Department of Elec-

tronic & Computer Engi-neering at TUC. The case is analyzed regarding the

best manufacturing pro-

cess for mass production

and fabricated as a pro-

totype at our fabrication

shop, using the equip-

ment of our school –two laser cutters, a 3d printer

and a CNC router.

Figure 8: Contour Crafting by B. Khoshnevis at USC.

Figure 9. Poster presentation by Eva Karamanoli, student at the Department of Architecture at TUC.

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ConclusionThe educational goal lies in that students

understand the field in its broader sense,

being exposed to the types of materials

and their attributes, their ability to be com-

bined, as well as techniques of fabrication and assembly. It is to incite the interest and

understand the know-how in order for stu-

dents to develop their own relationship with this field.

:: Students develop an ability to use this

field as another tool in order to achieve their design goals in their respective studios.

:: They get familiar with “materiality“ allowing for specialization in an area of interest. :: They are presented with diverse sources to be continually informed regarding re-

cent developments.

:: They are guided to use the knowledge efficiently either for implementing a specific material to a project or to specify the characteristics it should exhibit to achieve its

design goal.

ReferencesAddington, M., & Schodek, D. Smart Materials and Technologies for the Architecture and Design Professions.

Oxford: Architectural Press/Elsevier, 2005

Ashby, M., & Johnson, K. Materials and Design: The Art and Science of Material Selection in Product Design. Ox-

ford: Butterworth-Heinemann, 2002

Bechthold, M. et al. New Technologies in Architecture II & III: Digital Design and Manufacturing Techniques.

Cambridge, MA: Harvard GSD Design and Technologies Report Series, 2003

Brebbia, C. A., & Samartin, A. (Eds.). Computational Methods for Smart Structures and Materials II. Southamp-

ton: WIT Press, 2000

Brownell, B. (Ed.). Transmaterial: A catalog of Materials that Redefine our Physical Environment. New York, NY:

Princeton Architectural Press, 2005

Castle, H. (Ed.). A.D. Magazine: Versioning: Evolutionary Techniques in Architecture. London: Wiley-Academy, 2002

Kula, D. & Ternaux, El. Materiology. Basel; Boston; Berlin; Birkhäuser and Frame Publishers, 2009

Ritter, A. Smart Materials in Architecture, Interior Architecture and Design. Basel; Boston; Berlin; Birkhäuser, 2007

Voyatzaki, M. (Ed.). The Design and Fabrication of Innovative Forms in a Continuum. Thessaloniki: The F2F file-

to-factory Continuum Program and the EU LLP, 2010

Figure 10. The fabrication lab at the Depart-ment of Architecture at TUC.

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Contemporary materials and fabrication techniques: A change in the way designers think

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