Formwork Documentation: The Holes (Part 2)

The holes for the press plates are drilled in symmetry about the center. Meaning, for the six holes for each grove only three holes need to be alignment on the drill press. Each time a hole is aligned on the drill press, two rows of holes can be obtained on the plates by rotating the formwork.


Recap: for the four rows of holes away from center, the clamps are repositioned, and additional height on the jig is added to accomodate the clamps' new position as not to conflict with the formwork.


The added height for the jig only applies for the outer four rows, which means only two holes on the jig, given the formwork's plate can be rotated given the symmetrical nature of the holes about the long axis.


Structural support is then added to the base of the plates to prevent the now perforated surface from breaking under its own weight. Dense wood for molding is used, and the sectional dimension of the supports are determined by the clearance from the washers and nuts (when the bolts are installed).


Six rows of holes per plate. A lot of carriage bolts are yet to be installed. Given the added bracing for the MDF plates, hopefully the dense wood bars will also support the 228 carriage bolts, 456 washers and 456 nuts (calculated at thirty-eight groves and six holes per grove for each plate). Again, washers and nuts are needed to keep the bolts in an orthogonal position, as the holes themselves do not bear enough depth or thread to maintain the bolts' verticality.

Formwork Documentation: The Holes (Part 1)

Pilots are required for the bolts. Based on previous investigation, one-inch centering of the holes would be pushing the (pseudo-laminated) MDF boards to a point of breaking. And holes are offset from the very edge to prevent tearing. Finally, six holes per grove are set to be drilled at 1-1/8 inch O.C.

For standardization and alignment of the holes, a base (or jig) is built to both support the plates and ensure a clean hole (by prevent the underside of the plate from "breaking" as the drill bit is pushing through).


Three bars are raised from the jig to set for the plates' groves to improve alignment.


A fence in the back is set to align the press plate when it is moved from grove to grove.


Notice the jig has been slightly built up (by 1/4") to accomodate the new position of the clamps. After drilling the center two rows, the jig had to be re-aligned for the next two rows from the center, and the original position for the clamps can no longer accomodate the elongated reach. Hence, clamps have been moved to the sides of the jig.


First four center rows are drilled. End rows along the edges are yet to come.


Tripod legs are used to support the ends of the plates to prevent over-cantilevering.

Formwork Documentation: Beginning

The two events from the movie clip have been translated into panels. The intent is for the two panels to face each other and "converge" (or press into each other) and become something like an iron maiden. The dog chase is represented by one plate and the the mob chase is the other.

Click below for past blog posts on
Generating Move Clip and Associated Analyses

The two formworks will compress one panel in between and generate a surface. The deformations in the surface will be determined by the diagrammatic elements of each transition. Bolts of different lengths set in in different combinations will translate the compositional smoothness of the transitions.




Dimensions for plates are determined by means of material availability and means of available transportation. It is true the formwork should be "large" within reasonable parameters.

Surface Generation: Materiality Tests 05

MATERIAL: Prismatic (Translucent) Ceiling Panel



Above: Textured Surface Facing Down

------------





Above: Textured Surface Facing Up

Surface Generation: Materiality Tests 04

MATERIAL: Translucent Frosted Styrene Ceiling Panel



Above: Textured Surface Facing Down

------------





Above: Textured Surface Facing Up

Surface Generation: Materiality Tests 03

MATERIAL: Opaque Frosted Styrene Ceiling Panel


Above: Frosted Texture Faces Down

------------






Above: Frosted Texture Faces Up

Surface Generation: Materiality Tests 02

MATERIAL: 1x1" Gridded acrylic ceiling fixtures. One face is plain and the other is textured. During heating, material always curls into the textured face, regardless which face is up on the formwork.

Different levels of heating produce different results in deformation.

Surface Generation: Materiality Tests 01

CONCEPT: The movie sequence is the generator for a surface. The diagrammatic elements for each transition is translated into a formwork.

THE FORMWORK: Carriage bolts are used for their curved ends and their threaded body that allows adjustment of heights. For this exercise, two lengths of carriage bolts are used, 2-1/2" and 3". The MDF is used as a base for its material cheapness. Multiple holes are drilled on two laminated sheets of 1/4" MDF to test the material strength (in reference to the larger model to come). Nuts and washers are added onto the bolts to provide orthogonal stability, given a depth of 1/2" in the MDF is minimal for providing rigidity.

THE MATERIAL: Different plastics/styrene/acrylics are tested for their structural uniqueness under conditions of deformation. Materials can deform different depending on textural treatment and the relative surface positioning in relation to gravity (which side is up and which side is down). Techniques of heating and baking are used to encourage deformation.

Transitions Analysis Diagrams

There are thirty-eight transitions in the 1m30s clip. Each transition is documented in terms of one frame before and after the event-change.

Although many compositional elements occur in each frame, only the "transitional" elements are diagramed for relevance.

Diagrams shown as slideshow. Each slide presents one transition diagramed with both transitioning frames.

Re-presenting the Sequence Transitions

I'm preseting the translation of two (metaphorically linked) events that has otherwise been stitched together in the original movie sequence.

Fragmenting the Defragmented

Here, the metaphorically linked events have been fragmented and reconnected to question the temporal relationship between the two events that were otherwise shuffled together.

Isolating the "Dog" Sequence

Isolating the "Mob" Sequence

Project 02: The Beginning (Overdue Post)

The move clip is from Snatch. The 1:30 sequence has been selected for its qualities in transitioning between scenes.

There are 38 transitions in the 90 seconds. The analysis of interest are:

a) compositionally, how are the transitions achieved?
b) metaphorically, how does the suggested content effect the quality of the transitions? (compositionally connected vs. compositionally fragmented)