Fishtnk Design Factory » Grasshopper

Cortical Chair

admin — Mon, 30 Jan 2012 21:00:05 +0000

First piece of our latest furniture collection based on research with SPM [Studio for Progressive Modeling] from Yolles Group on structural optimization in furniture design.

in Collaboration with Daniel Hambleton; SPM.

Parkdale Chair

admin — Mon, 10 Jan 2011 02:51:00 +0000

“Parkdale chair” is made with off cuts of other studies in the Parachair collection. Designed in parametric design platforms has allowed for more efficient use of resources. Working with CNC machines and other CAM (Computer Aided Manufacturing) technologies usually results in large amount of waste and unsalvageable leftover materials. The parametric design platform allowed for better analysis and use of the off-cuts.

Flexible back-support to adjust to different proportions.

Parkdale chair is a small lounge chair made with white-birch plywood and felt cushions. The flexible back is uniquely design to accommodate different body types and proportions.

Parametric Furniture Research

admin — Wed, 29 Sep 2010 00:44:47 +0000

Structural Optimization Diagram, Diagram by SPM, Halcrow Yolles

In collaboration with: Crispin Howes + Dan Hambleton form SPM [Studio for Progressive Modeling, HalcrowYolles Group]

This collection is a series of studies Fishtnk has developed with SPM (Studio for Progressive Modeling) at HalcrowYolles Engineers.

The study has been on going collaborative project which has resulted in a unique approach towards furniture and product design. With the increase of analytic + parametric software presence in design processes, the ideas of mass-customization in large scale production becomes more approachable than ever.

The Vessel Chair by fishtnk became a case study for this research. The outcome is developed as a malleable algorithm to be applied to different disciplines for material and structural optimization on the principals of mass-customiza

tion.

Above diagrams and drawings provided are courtesy of SPM, Halcrow Group.

Pieces like Three, Vessel chair, Bungeeseat, Leftover chair are a few that were developed to production level.

This collection is developed in Grasshopper for Rhino software platform. The input sensory has been a series of digitizers, image based mapping techniques and live input.

TSC [Tunable Sound Cloud] 1.0

admin — Sun, 20 Jun 2010 23:45:06 +0000

Tunable Sound Cloud 1.0

Tunable Sound Cloud is a responsive architectural application that allows for real-time modification and enhancement of acoustic performance of space. TSC focuses on our auditory experience of architecture.

Designed with a responsive modular structure and interactive smart surface.
Interfaced through Grasshopper/Rhino 3D modeling tool + Max/MSP software.
Actuated with Arduino micro-controllers/geared motors + SMA wires.

Click here for more images…

Tunable Sound Cloud 1.0 from Fishtnk on Vimeo.

TSC [tunable sound cloud] Draft Video

admin — Wed, 03 Mar 2010 20:52:19 +0000

Tunable Sound Cloud 1.0 from Fishtnk on Vimeo.

Parametric chair Collection

admin — Sun, 10 Jan 2010 03:54:24 +0000

Parametric chair collection

This collection is an ongoing research-based project focused on user input in mass-customized furniture production. Pieces like Three, Vessel chair, Bungeeseat, Leftover chair are a few that were developed to production level.

This collection is developed in Grasshopper for Rhino software platform. The input sensory has been a series of digitizers, image based mapping techniques and live input.

Music + Architecture; introducing Tunable Sound Cloud

admin — Mon, 28 Sep 2009 20:13:19 +0000

Tunable Sound Cloud

Beyond acoustics in music performance halls; a responsive sound system for architecture.

My research on Music+Architecture started in 2003 with Professor Gulzar Haider at Carleton School of Architecture. Since then I have been meandering between the two arts/sciences [debatable.] This 6 year search has resulted in a number of art pieces, installations and architectural projects that I will try to dig out and add to this blog as I go. During these years I have learned/worked/collaborated with many different artists,professors, students. hopefully I will get chance to mention their contributions when I talk more about the projects.

It is my goal to keep this research as collaborative as possible and make it a platform for open-source architecture.

In one paragraph:

The Tunable Sound Cloud is a proposal for a layered three dimensional dynamic spaceframe that adjusts to it’s environment with linear actuators driven by micro-controllers. The self-supporting structure, being a ceiling application, is made of an array of triangulated modules that are hinged to one another and folds on itself.The responsive surface layer, actuated with memory alloy wires (muscle wires) will control the apertures of the surface to adjust sound reflection or sound absorption to enhance the acoustic performance of the space.

Intro:

Looking at music in different time periods, from dark ages to baroque, high classical era to twenty first century experimental music, there is a relationship between the architecture of spaces music is composed and performed and how the music is written. In today’s modern or trans-modern era we design we design multi-purpose performance halls and spaces that are so generic that could accommodate any music and program.

I will be looking at responsive systems in architecture and music to design a tunable performance space that could be adjusted to meet the absolute sound requirements for a specific sound performance.

Baroque period 1600-1750

Interior view of Coutances' cathedral, department of Manche, Francephotograph by: Eric Pouhier

Musicians: Bach,Handel,Vivaldi,…
Architecture: Gothic architecture
Reverb 3.0-3.2 sec
Special characteristics of that era: Unaccompanied music ,Contrasting music and vocals

Classical period 1750-1820

Musicians: Mozart, Beethoven,Haydn,…
Architecture: Neoclassical architecture
Reverb 1.8-2.0
Special characteristics of that era:More popular- published music as entertainment result change in scale of Venue [architecture],More complexity and layering

Romantic Period 1820-1920

: Bayreuth Festspielhaus

Musicians: Schubert, Puccini, Wagner,…
Architecture: Neoclassical +Art Nouveau
Reverb 1.8-2.2
Special characteristics of that era: Sound/Acoustical engineering,More color and tone in the music, Wagner designs the 1st opera house for his own performance. 1924 grand opera dies; Turandot, puccini.

Modern and Contemporary

Einstein on the Beach 1976

Musicians: Philip Glass, John Cage, …
Architecture: Modern architecture
Reverb: Electronically controlled
Special characteristics of that era: Music becomes an multimedia performance enhanced by electronic devices.

programmatic topic [the proposal]

Sketches:

This study looks at a dynamic ceiling structure made with two layers:

Spaceframe-structure [Bones]
Surface [Skin]

Structure:

The structure is based on a series of hinged triangular spaceframes, connected and actuated at the top center of the frame to the adjacent frames.

Preliminary sketch of the structural layer:

Skin:

Tunable Sound Cloud; Responsive Surface Study from Fishtnk on Vimeo.

Above is a study of the surface movement with Nitinol wires to control the sound behavior for the Tunable Sound Cloud Project.This study is designed as a 10X10 grid of micro responsive modules [10X10mm units] to control the acoustic properties of the surface.

the physical prototype :

Tunable Sound Cloud, prototype tile from Fishtnk on Vimeo.

below is a study of the system, interfaced through Grasshopper and Rhino modeling platforms, the ceiling structure of the Tunable Sound Cloud is controlled and adjusted to accommodate different acoustical settings.
Actuated with Arduino micro-controller and servo motors.

Tunable Sound Cloud _ responsive ceiling surface from Fishtnk on Vimeo.

The Bungeeseat; Fishbol 2009 Collection

admin — Thu, 13 Aug 2009 23:04:10 +0000

My design process for the Bungeeseat was a precedent‐based exploration on material and ideas. The first of my sketches came from a visit to the design museum in London which featured an exhibition called “Design Cities”*; seven cities were presented. Bungeeseat combines elements of Rene Herbst’s Chaise Sandows with the structural language of Jean Prouve whose works were exhibited at the show in London. Keeping the core elements of these two examples, I began our own digital iterations of this model. This project became a platform for a series of parametric explorations in our furniture design process. With a series of modeling scripts and algorithms, I was able to achieve real‐time visualization and calculations of components for improved performances in my designs.

Rene Herbst ‐ The French architect turned designer was nicknamed the “man of steel”. He pioneered the use of industrial materials for furniture years before mass production on a large scale was possible. In 1929 he created several versions of his celebrated Sandows Chair, which ignited his research into serial production and inaugurated the era of mass production in the hype of modernism**, giving impetus to global production and a new era for design and architecture. Modernism and the ideas from that movement are fascinating for me, but it was not my intention to recreate modern furniture with modern ideals; my approach was nostalgo‐modern along with today’s conscious in material selection. Rather than the concept of global/mass production, we focused on limited production at Fishbol.

The other part of this project was to figure out Toronto’s role as the “Eighth Design City.” Our intention was to keep production local and more responsible to the environment. I was able to supply the bungee cords from an old Canadian manufacturing company here in downtown Toronto, and the Bamboo‐ply is from a supplier in Markham, Ontario. Though the Bamboo‐ply is not sourced locally, it is considered a rapidly renewable resource with extra structural strength. These qualities made bamboo‐ply a better choice compared to conventional Baltic‐Birch plywood that was used for my first study models and prototypes.

The final phase is packaging for projects like the Bungeeseat. Going back to the drafting board and study models with the help of Sara Navid, we developed a quite stylish reusable cardboard box that would allow for repackaging of this ready‐to‐assemble (RTA) chair. Most of the packaging design was done by Elie.

Click here for more Photos…

*http://www.designmuseum.org/exhibitions/2008/designcities
**David Raizman, History of modern design: graphics and products since the Industrial Revolution;Published by Laurence King Publishing, 2003

The other part of this project was to project Toronto’s role as the “Eighth Design City.” Our intention was to keep production local

and more responsible to the environment. We were able to supply our bungee cords from an old Canadian manufacturing company

here in downtown Toronto, and the Bamboo‐ply is from a supplier in Markham, Ontario. Though the Bamboo‐ply is not sourced

locally, it is considered a rapidly renewable resource with extra structural strength. These qualities made bamboo‐ply a better

choice compared to conventional Baltic‐Birch plywood that was used for our first study models and prototypes.

Vessel Chair; a prototype for the Parachair project

admin — Wed, 12 Aug 2009 18:47:06 +0000

The design of the Vessel chair is driven by the Voronoi tessellation pattern. Part of Parachair collection by fishtnk, Grasshopper™ plugin for Rhinoceros3D modeling platform is utilized in order to model the parametrically designed frame; The chair frame is constructed with one inch plywood, milled with 3axis CNC machine. The seat surface is created by extruding the edges of the structure cut-outs of the frame. The material is flexible polyester resin fiberglass.
The vessel chair is designed as an responsive mass-customized furniture. Designed in Grasshopper/Rhino computer platform the structure is scripted around 3 variables:
The users height, weight + a raster image.

Vessel Chair _ A prototype for parametric furniture from Fishtnk on Vimeo.

Based on these parameters, the algorithm re-calculates the amount of structure needed according to the height/weight ratio of the user and takes away the unnecessary material, changes the proportions to the most optimum dimensions.
The third variable, the users submitted picture, is to be analysed for the colour selection of the chair [this is the part I'm still developing.]
If the user is happy with the outcome the design could be submitted [baked] to be processed as CAM [Computer aided manufacuring] information for CNC milling.

By early 2009 there will be a section of this site dedicated to input of these varaibles and visualizing your chair, if you were happy with out come you can place an order right there!

Find more photos like this on my Grasshopper page.

Responsive Array; a ceiling cloud

admin — Wed, 12 Aug 2009 18:40:20 +0000

This project has taken as its impetus a notion of design that considers structural and
material performativity as a fore-grounded element. It exploits key material properties
in both its projected and final built form. Fabrication methods through formwork,
pouring and milling, as well as the material selection (polyurethane rubber) have thus
been built into the design process from the beginning and continued to play a key part
in the iterative development of the design. Phenomenologically, the design articulates
formal expression through lighting, translucency, and colour.

Find more photos like this on Grasshopper

Formally, the design utilized parametric software to take a simple non-UV tessellation
pattern, in this case a 2D voronoi, as the starting point for an alternative approach to
generating a differentiated field of mass-customized, but still self-similar components.
After pre-designing in Rhino the desired component, the basic voronoi script was
then linked to a series of lofted shapes, surfaced, and programmed with variables to
control part profiles, offset distances, support hole apertures, and voronoi fillet radii.
This paramaterized script then gave the designers multiple controls over the overall.
in collaboration with Nathaniel Addison, Jonathan Cummings, Safora Khoylou.