KURT9000: Repetition, Variation and Composition

Project Description |

Repetition, variation and composition is the topic of our project. We are required to use WaterJet Cutter to make molds for casting a series of models. Those models should be cut and aggregated together as a composition, 9 models in one composition. By cutting models, the complexity is increased and some unexpected curve or space hence are created. 3 compositions are required in this project. For MSDT students, it is a good chance to re-think the relationship between digital tool and physical model. Generally, digital tool ignores too much information, so we can hardly control the process of making because we cannot see the materiality on it. Furthermore, so many unexpected problems happen in the physical process, hence we need to feedback those information (experience) back to the digital tool to equalize the real factors. And, the gap between digital tool and physical process can be reduced and the design thus can be delivered completely.

Composition No.3, T.C. Kurt Hong, Summer 2015

Composition No.2, T.C. Kurt Hong, Summer 2015

Process |

WaterJet Cutter is a powerful machine which can cut through very rigid material such as glass, metal or concrete block. However, the resolution of WaterJet Cutter is not very high (we are not building a space ship, right?), so the issue of imperfection needs to be addressed in the beginning of design. In this project, I choose a form which is with double curve surface and cannot be unrolled. It is easy to use fabrics to achieve double curve surface but with rigid material. The method I adopt is to make a drill to dig a double curve hole in a plaster block, and then the double curve model can be cast with this mold.

Components of the Drill, T.C. Kurt Hong, Summer 2015

Single Curve Drill, T.C. Kurt Hong, Summer 2015

First Mold, T.C. Kurt Hong, Summer 2015

Molds for Mass Production, T.C. Kurt Hong, Summer 2015

Test Model, T.C. Kurt Hong, Summer 2015

Design |

The different operations on the basic geometry may produce different results. I focus on the operations and tried to design the strategy rather than the result directly. 3 different cutting strategies are used in this project - vertical cutting, horizontal cutting and angular cutting. Vertical cutting creates the curves as the rainbows which connect together, and hence those curves define a space with a very interesting boundary. Although the composition is a 2D composition, however the space can extend to the the third dimension. Also, I tried to arrange those components to create more space with variations, some space looks like a path, some looks like a square, etc.

Vertical Cutting, Summer 2015

Horizontal cutting offer an opportunity to stack the components in Z-Axis, and the edge between any two components is an unexpected eclipse. The edges of the space created are totally different from those in the composition No.1.

Horizontal Cutting, Summer 2015

The third operation, angular cutting, creates a continuous curve which is similar to the 3D version of that in the first composition. And, the space extrude to the vertexes of the components, the space expands in several directions.

Angular Cutting, Summer 2015

However, cutting the physical models is not easy, so I went back to Rhino models to figure out the cutting plans. I did some simulations in Rhino, and calculated the rotation axis cutting positions for each cut. After the simulations, I can roughly find the positions to cut, however, each physical model has variation, so I still need some adjustments to feat them together. This process make me think of the article about building a cathedral in "Making" (Tim Ingold, 2009). Architect draws the plan of the building, however, the mason craftsmen improvise with the real material. I think we were experiencing a similar process of the cathedral construction.

Vertical Cutting Simulation, Summer 2015

Horizontal Cutting Simulation, Summer 2015

Angular Cutting Simulation, Summer 2015

Scripts and Algorithm |

While we are casting, de-molding, cutting, connecting and polishing the models, we actually are building up our algorithms to the specific material. Once the algorithm is established, the scripts can be extracted from the algorithm. The algorithm is consist of a series of steps which is the foundation of the scripts. And once the scripts are written, all the steps may be represented on robot arms or other digital tools. Hence, the craftsmanship and robot arms are connected seamlessly.