System objectives

Starting from the traditional folding technique of pleating, our system facilitates the creation of pleating patterns through a 2D interface in Rhino. Pleat designs can be rendered in the physical world by printing the crease pattern on paper or can be rendered virtually as mesh models in Rhino or other modeling applications.

“Complete Pleats” by Paul Jackson served as the primary reference material regarding pleating techniques. Amanda Ghassaei’s online origami simulator was used to simulate the fold patterns created in Rhino. Translating between Rhino and the simulator employs the.FOLD format.

After creating the core pipeline which translates 2D line drawings from Rhino to 3D dynamic folded forms in the simulator, each team member aimed to extend the tool and create unique artifacts from individual workflows.

Core system

The core system has three primary components: the Rhino working area, the grasshopper script that translates the Rhino geometry to. Fold format and displays the mesh of folds, and the online origami simulator created by others.

Core Workflow

A designer creates line geometry in the Rhino work area using layers representing each type of fold supported by the origami simulator. While the type of fold is set by the layer, the angle of the fold is set explicitly by using the line object’s “Name” property.

At any point, the designer can visualize the design by saving a .Fold file of the design and uploading it to the simulator, allowing for quick iteration between 2D and 3D representations. Concurrently, the designer may explore the design by folding physical material, either freehand or from patterns printed from the digital model.

Individual workflows and artifacts

1. Curve to Pleated Surface Tool

By utilizing the primary Rhino to .Fold file pipeline, we are able to easily translate content created in the Rhino workspace into the online simulator to visualize the creation. I have decided to utilize this tool to experiment with pleating patterns to create a dynamic curved surface. As seen in example projects (figure 1.) simple pleating patterns can be freely manipulated after having been folded to create dynamic forms that are more exaggerated than their folding pattern initially lets on. This exploitation of a pleated form highlights the respective strengths of both digital and analog making within this pipeline.

Digital Manipulation of Input Geometry: 

Keeping in mind the possibility of manipulating a pleated material, a target form is created in the Rhino workspace. In this pipeline, the target form is a freeform curve created by the user in elevation. The goal of the pipeline is ultimately to approximate this freeform curve though the assignment of pleats to describe it. 

To begin, a freeform curve is drawn to the liking of the user. Then utilizing a grasshopper script, a series of points are assigned to the curve based upon the degree of curvature. (Figure 2.) The areas along the curve of more severe curvature are assigned a higher density of points to describe it. The descriptor points are grouped into two categories: positive slope and negative slope. These two types of points will get assigned different types of pleats described later in the process. 

Next, the curve and its newly assigned points are unrolled along the X-axis. Each point represents the future location of a pleat. In this example, the points with a negative slope are assigned a knife pleat that steps down, while the points with a positive slope are assigned a knife pleat that steps up.

Once assigned along the X-axis, the fold pattern resembles an intricate patterning of mountain and valley folds. (Figure 3.) However, this pattern can be easily visualized utilizing the online simulator. This portion of the pipeline utilizes the primary “rhino file to .FOLD file” export function that is shared between each pipeline developed within our group. Once the file is exported from Rhino to the simulator, we get a sense of how effectively this pipeline was able to approximate the input curve by assigning points and pleats. 

As seen above, the knife pleat fold lines are engaged at a 90-degree fold which maximizes the vertical distance change. We can begin to see the input curve represented in the simulation, however, it is not nearly as dynamic as the input itself. (Figure 4.) This is where the analog folding of the pattern will take the form to the next level and truly start to resemble the original input or something derived from it. One of the strengths of analog folding of the pattern is the ability for the user to intuitively vary the angle at which each fold is set. With the simulation, each fold is set to the same degree. When folded by hand, the folds can be stretched, manipulated, and compressed easily at varying degrees to further accentuate the form.

You can see above that I have accentuated the curve past what the simulator suggests. To create a more interesting form, I have stretched open the pleats along the peak each curve, while minimally altering the pleats in between. (Figure 5.) A single valley fold along the back edge allows the form to keep its shape and become more expressive by providing rigidity.

With this workflow, the creator has the ability to create a dynamic profile for a material knowing that the pleated form will result in a similar shape. From there, they can manipulate, fold, and twist the form into something different from the original input. This application could be utilized from a scale as small as paper folding, to something as large as inspiring the roof form of a building. For a further and more detailed demonstration of how this portion of the pipeline functions, see the video below!

2. Pleat intersection workflow

This workflow introduces an alternate representation method to the core tool. In addition to using single lines to represent individual folds, single line representations are expanded to include pleats of multiple folds. Knife folds, as shown in the Core Workflow images, are used to explore pleat intersections. Rhino layers for left and right-hand knife pleats are added to the model for the designer’s use. Critical to representing pleats of multiple folds is understanding the pattern of the resultant folds at an intersection. The image below explains how the sequence of creating the intersecting folds impacts the pattern of the folds at the intersection. Because the sequence of each intersection is required to be defined, the second avenue of input is opened for the designer to manipulate.

The work below introduces the formal possibilities that can be explored when intersecting knife pleats. The order patterns were created using simple looping algorithms. However, the nature of this intersection representation affords many other possibilities to assign order values. As is seen in the examples shown below, the interplay between even simple variations in the knife fold hand and the sequence order creates a broad variation in the formal and performance qualities of the 3D object.

3. 3D Pleating

This workflow introduces a way to pleat on a 3D object. This workflow adds a 3D possibility to the core tool. In addition to manipulating solo 2D folding patterns, this workflow provides an opportunity to deal with 3D folding patterns for users. The users can create their own 3D objects and add folding patterns on their unrolled flat surfaces. Just as the figure shown below, a cube can be pleated pretty nicely.

The following graph shows the 3D pipeline workflow. The user first creates a 3D object. The pipeline then automatically gathers this 3D object and unrolls it to a flat surface. All the edges’ relationships and angles are saved as the core workflow standard. The flat surfaces are then translated and scaled so that it can be inside the “Working Area” which can then connect to the core workflow. The last step before using the core workflow is to bake these edges from grasshopper components to rhino components. The user can then iteratively design on the flat surfaces and then see how it goes in the fold simulation.

The following video shows the automatically unroll part. It can handle most types of 3d objects. The following video shows this scrip unrolling cube, polygon solid, and an egg-shape 3D object.

The following video shows the actual pipeline to pleat or add new folding pattern to a 3D object, which is a dodecahedron. This 3D object is first unrolled as flat surfaces. The user can then try to add mountain or valley fold to these surfaces. After several design iterations, the user can view the result through the simulation environment.

The following pictures show the fabrication result. The user can create the actual modified 3D object using paper.

Reflection

Much like the application of traditional pleating techniques, the rhino to .FOLD pipeline which serves as the core of our project proves to be a useful tool for a wide range of uses. Shown by the three distinct adaptations above, the pipeline can be manipulated as a parametric pleating design tool, 3D to the 2D form builder, and curve simulation tool. Surely there are many integrations of the tool that are yet to be seen, but that’s what makes it so powerful.

Exploration with the tool resulted in a need to balance digital and analog modeling. Questions stemming from these explorations circle around the possibility of how to create a feedback loop between the digital and physical realm. How can one introduce existing pleating or geometry to the rhino workspace from the physical world and continue to develop it through digital means? Once a design is completed and physically made, is there a way to capture this development? While there are a number of directions to explore, we know that our Rhino to .FOLD pipeline represents the “middle link” in a chain of design exploration. Exciting possibilities only need to be imagined using this digital twist on the traditional practice of pleating.

Description

Pleating, the act of inducing folds into sheet material, has long been a practice to provide mobility, shape, structure, and utility in a variety of industries around the world. With a strong presence in the textile & fabric industry, the style of the pleat and the way in which it was employed was driven by a variety of factors such as utility, efficiency, cultural influences, or social standing. Today the pleat is seen in cutting edge performance clothing, religious garb, and the latest fashion trends. 

Considering the appealing design and structural implications of the pleat, there is no question of why it has been heavily integrated into origami, sculpture, and architecture as well. At a larger scale, the pleat has been utilized in standing seam metal roofs, folded metal facades, installation sculpture, furniture, etc. As technology and digital fabrication accelerate, new methods of customizing fabrication and mass production will become apparent thus creating an opportunity for the development of creative yet simple designer interfaces. 

We have chosen to work on designing a pipeline that allows users to employ the use of traditional pleating techniques in a virtual environment to create unforeseen and complicated geometries using a thin sheet well. Once the desired pleat design has been reached, the interface will be capable of printing the folding outline on a flat sheet good. With the proper linework and folding instructions embedded in the material, any user could theoretically pick up the sheet good and employ pleating to create the geometry originally modeled on the computer.

This workflow offers the unique ability to create asymmetrical, nonuniform, complex folding patterns that could be used in beautiful sculpture, abstract artwork, or architecture. The combination of varying pleating techniques will create interesting intersections that would normally take multiple construction attempts to understand. The workflow will alleviate the end-user from this complex negotiation, allowing for the focus to be placed on the overall design.

Workflow Diagram

Collaborative Roles

We expect that each of us will participate in each phase of the development collaboratively. As we progress into the work, we may differentiate roles to accomplish separate tasks. However, throughout the process, we will all be testing and folding to refine the system.

Individual Fabrication Methods

With a common design tool in place, individuals will work on creating customized pleat patterns that are completely unique to them. The initial prototype fabrication will take place on 8.5” x 11” paper, however, there is an opportunity to expand the fabrication to other mediums as the tool is developed. 

Critical Physical Resources

Printer, 20lb (or slightly heavier) paper for prototypes, ruler, cutting board, knife

Folding Experiments

System objectives

Although we initially intended to explore armatures, we narrowed the focus of our system to exploring the creation of molds with material that could be fabricated or marked by a robot. Clay was chosen for its utility, allowing us to experiment with expressive objects and textures. Our goal was to play with the sculptural properties of the clay and see the level of detail and precision the plaster can pick up from the clay negative.

Design process

16 small-scale clay prototypes

We used small trays as the mold bases and hand-made or found tools such as stamps, a shoe, a scraper, and laser-cut tools to carve different patterns on clay to see their effects and estimate possible creative avenues.

Carve different patterns

Pour Plaster

Examining Results

Actual tile-scale prototype

Although all of the tests were successful, some captured too much clay and some were less visually interesting. We chose four that we felt had design potential and also potential to be translated to a robotic technique. We also made a full-size wood mold, CNC-cut 3D foam pattern, and a sketched clay surface to better understand the challenges of a large tile and explore the 3D mold idea.

Wood mold and a 3D pattern in the foam

Sketched clay surface

Flattening and smoothing the clay at this scale proved challenging. This was an important lesson in understanding how the techniques must change from small mock-up to full-size tile.

Result

Robot Testing

Next we explored using the robot to mark the clay using the carving and stamping movements we discovered through making the small mock-ups.

Stamps and carving tools

Robot Stamping and Carving

Result

Mimic robot

The robot tests proved to be promising. However, we don’t have enough time and expertise to use the robot with this project. Therefore, we built a manual tool that allowed us to mimic the carving and stamping actions of the robot. Before creating a new clay mold we explored carving patterns in Rhino.

Use Rhino to simulate the clay surface

Making the manual carving tool

Smoothing the clay with better tools

Gouge the clay with the running mold

One more small mock-up

Before moving to another full size tile we tested our tool with several different carving profiles and made one additional small scale mock-up.

Fabrication process

We found the small mock-up to be successful but the black clay left too much black residue on the plaster. We switched back to white clay for the final tiles. For the final tiles we chose to use a different fabrication technique on each tile. We used the running mold to sketch on the clay surface of the first tile and used a stamp to create patterns on the second tile.

First tile

Use a running mold to sketch the clay surface

Sketched result and poured plaster

Peel the plaster off

Second tile

Stamping tools

Stamping process and stamped result

We tilted the angle of the stamping for some parts to make a better artistic effect. The pouring plaster and peeling clay off parts are pretty similar to those of tile 1.

Result

We think the explorations of our design system were fruitful and have laid the groundwork for further explorations. The most obvious next step would be to use the actual robot to carve and stamp the substrate, along with explorations into digitally created marking paths and stamping patterns. Since large sheets of clay are time consuming and challenging to make, we should at least consider another substrate material. Finally, exploring faceted or curved sculptural shapes for connection with an armature could lead to interesting challenges and forms.