DIGITAL DESIGN + FABRICATION SM1, 2016 SLEEPING POD_Panelling and Folding Zehua He
(715962) James Park + Group #2
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CONTENTS 1.0 Ideation 1.1 Object 1.2 Object + System Analysis 1.3 Volume 1.4 Sketch design proposal
2.0 Design 2.1 Design proposal v.1 2.2 Design proposal v.2 2.3 Precedent research 2.4 Design development v.1 2.5 Design development v.2 2.6 Prototype v.1 + Testing Effects 3.0 Fabrication 3.1 Design development 3.2 Final prototype development v.2 3.3 Prototype Optimisation: Light 3.4 Prototype Optimisation: Fabrication/Materials 3.6 Fabrication sequence 3.7 Assembly Drawing 3.8 Final model 4.0 Reflection 5.0 Appendix 5.1 Bibliography 5.2 Credit
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0.0 Introduction This subject is focusing on the a design project to satisfy the brief of sleeping in campus and respond to the second skin concepts.
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1.0 IDEATION
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1.1 Object: Measured Drawing
Measuring Methodology The chosen object is a pine cone with the opened panels. Some photographs were taken from both the top view and the side view of the object on a flat plan. Then the cutting section was scanned. The scanning and photographs were printed out and traced accurately. The dimesions of the object were measured on the real pine cone by a tape measure and shown on the drawing with a scale in 1:1.
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1.1 Object: Digitalizing
Top view
Section
Bottom view
Isometric
Elevation
Detail - One layer of panels
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1.2 Object and System Analysis The drawings below shows that the panel of the pine cone stick with a suppport plane of the core. So the panel can move while the support plane moves.
The drawings below show what the panel of the pine cone look like and the geometric form.
When the panels close, the support planes bent to the core. The panels are arranged closed to each other and nearly no gap between each one. This form repeat layer by layer in different sizes without gap either.
When the panels open, the support planes of the core stretch to the out. Gaps appear between each panels on one layer. This form repeat layer by layer in different sizes with the gaps in between.
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1.3 Volume - Sketch Model
To creat the reconfigured model and also creat a volume, I used cardboard cut into squares and triangles. The squares are stick together as a base. Then each triangle stick with one square at the same side. When the triangle panels come to the middle and meet at one point, each edge of the triangle panels can meet the edge of the triangle panel next to it. It create a cone volume in the middle. The original idea is from the how the one layer of panels from the pine cone close and open. The pine cone panel is small at the connection part with the middle core and become larger to the outside. I apply the size in a opposite way to create an enclosed volume. I tried to use more layers of curved panels in the same strategy to make the volume. The first layer of large panels stick with the square base. The second layer of smaller panels stick on the first layer of panels. When the panels meet one point in the middle, they create a volume with gaps between each other.
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1.4 Sketch Design Proposal
Sketch Design #1 The whole body wrap of panels give sleeper enough personal space. The sharpness end of the panels can protect users. Panels can set in a logical grid. The gaps between the panels can make user still feel the outside environment.
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Sketch Design #2
Sketch Design #3
The upper part like the helmet cover most surface of the head , The strip panels connectat the end to protect the most important part of the body - head.
The vertical rectangular panels become a barrier to keep sleeper save.
The under part around the neck and above the shouder use a rigid structure of panelling to support the head in a comfortable position when wearer is sleeping.
The panel shield sleeping pod is tied at the waist of the wearer to stable protection when fall in asleep.
Strip panels with sharpness at the end will form like a radial from the mddile of the head. Then cut the space for the head and remove the cover of the face.
The front and side parts become the barrier to stop other people’s staring and keep the sleeper’s privacy.
M1 Reflection
In module 1, the object which was given to me is pine cone. I started to observe the pine cone and found a way to measure it. Firstly, I took photos of the pine cone from different view and measured the dimensions of it by using a ruler. After that, according to the techniques Miralles and Pinos (1991) used in “How to lay out a croissant�, I cut through the pine cone in half by using a hand saw. The polished section were scanned and printed out for tracing. By the measured drawing and digital model making process, the object’s characteristics were clear in my mind. The natural form of a pine cone is mainly the centre and the panels. Exclude the effects from the weather, seasons and other uncontrolled forces, the pine cone is formed layer by layer with panels arraying on a circle of each layer. The reconfiguration of the characteristic we identified and analysed and applying in a sketch model to create a volume are really helpful for developing the proposal designs. The concepts of varied panels appeared in the progress of making the model. It gives a chance to connect all the information from the measuring and 3D modelling in a logical way and apply the logic to satisfy the design brief.
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2.0 DESIGN Zehua He Yuhan Hou Lachlan Welsh
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2.1 Design proposal v.1
This neck brace takes its form from the components of the pinecone, as well as its layering of these parts (above). It focuses on enclosing personal space through blocking the user’s views to the outside environment (below left). This sense of detachment is further supported through the use of warm L.E.D lights that are located behind a translucent window on the inside of the panels (below middle). From the outside, this design aims to tell outsiders ‘do not disturb’ by taking on a menacing form (right). After feedback, we decided that this design does not satisfy the criteria that the product must enclose an interior volume. The volume that it encloses in front of the face is too small.
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2.2 Design Proposal v.2
TOP
ISOMETRIC
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FRONT
This design responds to the protection of personal space when the user is leaning on a surface. The dome is made of a lightweight material that can be supported by the two-way structural span. The sleeping pod is designed to be foldable, therefore making it easy to store and transport. It encloses a larger volume that gives the user a sense of interior enclosure. To provide a sense of detachment, this design uses yellow-tinted, semi-transparent panels that filter the exterior light to provide a calmer interior environment. This design can be rotated around the torso and used when laying flat on the ground as well. In relation to the criteria of warding of outsiders, the exterior of this design could be made to look scarier.
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2.3 Precedent research
RIGID ORIGAMI - LIGHTWEIGHT - FOLDABLE - SINGLE COMPONENT
ORIGAMI CLOAK - ALEXANDRA VERSHUEREN
This precedent is useful to our design as it is foldable. Using this method, our design could easily collapse for idle wearing. Although the design is lightweight, made of paper, it has a structural rigidity that allows it to hold shape. This method consists of a single component, which is condusive to our design. It can bend horizontally and vertically, a flexibility that will aid the mechanics of our design.
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Source: http://www.modernwearing.com/trends-news/alexandra-verschueren/
RULE 1:
RULE 2:
RULE 3:
RULE 4:
RULE 5:
After investigation of the precedent, rigid origami, we discovered some rules. The greater the space, the greater the curve (rule 1). The smaller the shape, the sharper the incline (rule 2). Changing from a parallelogram to a triangle incites a change in direction (rule 3). The angle of the bend affects the curve of the whole component (rule 4). By increasing, the distance between grid lines, the interior angle becomes more acute, and the curve of the whole segment becomes tighter (rule 5). Using these rules, we can shape our design as we feel. We can adapt our design to fit the body, and also achieve the external appearance we desire.
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2.4 Design development v.1
We decided to pursue the ‘Enclosing Hood’ design as it created a larger interior volume and we felt that this better satisfied the brief. To develop this design, we started to investigate techniques for the construction of a foldable dome. Taking some inspiration from our refined sketch model, this design uses interlocking strips of paper to create a foldable grid (right). When outstretched, the width of the strips gives the system its structure and by curving these strips, a dome shape can be created (above). The windows created by this method allow us to play with interior light patterns (below). To give the design a more interesting external appearance, we experimented with attaching triangles of paper to the apertures that could collapse when folded (below right).
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2.5 Design development v.2 Our design consists of three components (right): the corset, the hood and the dome. The hood and dome are collapsible to the top edge of the corset, which attaches to the body and supports the weight of the pod. After having investigated the precedent of rigid origami, we decided to implement this technique instead of the interlocking paper strips. We felt as though the rigid origami had more opportunity for algorithmic or gradual shape change. We experimented extensively with paper folding, using the findings from our precedent investigation, trying to create a folding dome structure that has some sort of iterative change across space (above and below). We attempted to model this system in Rhino, which will save us significant amounts of time as we will be able to make changes digitally as opposed to having to make a physical model. This design is an improvement on the last as this new technique allows us to make the exterior of the pod look more menacing. It still holds a large interior volume and panels could still be replaced with transparent material to control lighting inside.
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2.6 Prototype v.1 + test effects
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We wanted to enclose a comfortably large interior volume for the user – that does not incite claustrophobia. We feel as though the current size is adequate. The curves of this design could be adapted however, to fit the natural curves of the body, as this prototype feels restrictive in certain areas. We chose to use the rigid origami method to give the design a less approachable external image. We feel that this has been a success, but we will further develop this surface. Although this prototype does not explore the principle of interior light, it does provide a sense of detachment for the user through noise reduction and visual blocking. We will experiment with light in further designs.
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M2 Reflection In this module, two proposal sketch designs were developed to a further stage with response to personal space. As Sommer (1969) expressed in reading “Personal space: the behavioural basis of design�, personal space actually varies by different person or different time while in our personal space mapping, head is the most significant part of the body which need the most personal space. We refined our sketch models from M1 to get the direction of the designs. We focused on one proposal design and find different way to satisfy it. In this stage, we start to use more advanced Rhino functions such as Paneling tool. Digital modelling is a powerful way to visualising our concept in a three dimensional way. The term developable surface is also an important part what we learnt in this module. It means the surface of a enclosed volume can be unrolled on a surface (Pottmann, Aperl & Hofer, 2007). So we start to develop the original design of a dome to cover a person into developable surfaces by using rigid origami techniques. Prototype is another important technique we have learned from this module. In the lecture, Paul said prototypes as performative tests and models as presentation tools. We want to use rigid origami technique to satisfy our 3D model outcome without a known grid. We draw the grid and by changing the distance between grid lines and the angles of the grid lines to control the folded shapes of them. We created many small prototypes by printing out the grids and folding them to test our girds. However, because the curved angle changes while the distances between the grid lines gradually change, we did not get a perfect prototype.
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3.0 FABRICATION Zehua He Yuhan Hou Lachlan Welsh
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3.1 Design Development
In order to solve the problem of variable sizes of rigid origami, we returned to a model that we created in Module 2. This design uses a secondary component to connect rigid origami curves of varying sizes and shapes. We developed this idea, using translucent polypropylene as the mediating material, to create the desired dome shape but with a more complex profile. The use of translucent polypropylene created windows to let light into the pod, which inspired further experimentation.
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TOP
ISOMETRIC
LEFT
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3.2 Prototype Development v.2
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Due to the success of this new technique, we decided to invest our time into testing a 1:2 size prototype. We used our detailed knowledge of the rigid origami system to fabricate components with the exact curve we wanted. This prototype, although too small in interior volume, achieved the dome structure that we desired. It was foldable, and allowed light through the transparent windows. Using paper as the material however, we felt was a flaw. Using paper, even with high GSM or gloss finish, still appeared too much like origami. We wanted to deviate from this appearance. Another problem was still the connection to the body. Using open pieces of origami was just too weak. We decided on a new system – to pin all of the components at the same point for structural solidity.
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3.3 Prototype Optimisation: Light
With these new panels in between the pieces of rigid origami we decided to play with lighting effects. The pattern on these panels allows light to enter inside the sleeping chamber. This creates a pattern of shadows across the interior. A sharper triangular design was chosen to continue the threatening effect of the exterior.
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The need for permeability changes across the interior space. Ideally the area around the users face is the darkest with more light permeating towards the back. This variation can be achieved in two ways. The window apertures could become more abundant, or the aperture design could keep its shape and simply change in size.
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3.4 Prototype Optimisation: Fabrication/Materials
With careful correspondence between Rhino 3D forms and the rigid origami rules, we created our desired curves and their relative grids. We measured their size and were dismayed to realise that they were too big to be cut in the laser cutter. Upon brainstorming, we decided to divide the pieces in half and connecting them with a third piece. We also decided to use self-sourced, A1 size polypropylene instead of the 600x600mm pieces sold in the Fabrication Worksop. Unfortunately, despite all our careful planning, the pieces did not fit together in reality. We did not foresee that the shape of the curved rigid origami actually changes depending on how much it is folded. This disallowed us from being able to use the rigid window components – a real shame considering our investigation into lighting effects.
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After considering a range of ways to fill these windows, we eventually settled on fabric due to its flexible form. After trying many different types of fabric, we realised that lighting effects could be achieved with two layers of chiffon - when put together creating a ‘marais’ effect. We decided to use multiple layers of chiffon to achieve different levels of light into the pod, again, darker where the face is.
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3.5 Final Design
TOP
RIGHT
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ISOMETRIC
Our final design is a large foldable dome that creates and interior volume in which one can sleep. This volume protects the area of personal space around the upper body and head. It uses combinations of chiffon fabrics to control the light and shadow patterns on the inside. This darkness creates a sense of detachment from the outside world for the user. The external form of the design achieves a threatening appearance, which would ward off potential disturbers. This is in part due to the use of black polypropylene. The elastic rope across the axis of the design keeps the rigid origami in a structural tension as well as forming a shoulder strap for transportation of the pod – ‘transportability’ is a distinctive feature of this design.
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3.6 Fabrication Sequence
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3.7 Assembly Drawing
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3.8 FINAL MODLE
BACK
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LEFT
TOP
Function
Rope Joint Detail
Fabric Window Detail
Polypropylene Joint Detail
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Interior Light Effects
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Transportability
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Wearing Process
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M3 Reflection In the third module, we started the fabrication process by introducing to the digital fabrication techniques such as laser cutting, CNC rolling and 3D printing in the fablab. We focused more on the fabrication process on this module. In the previous module, we just use illustrator to draw the grid and print it out on a paper to score and fold it. In this module, we start to apply the digital model as a base of fabrication. The techniques we learnt like unroll and make 2D in rhino help us create a two dimensional line frames to fit into the laser cut template with different colours to recognised by the computer whether the line should be cutting or etching. According to Kolarevic (2003) described in reading “Architecture in the Digital Age - Design and Manufacturing�, laser cutting we used as a 2 dimensional fabrication way works in two axis while there are also other digital fabrication techniques such as subtractive, additive and formative fabrication. We also did some research on materiality. In the previous module, all the prototypes were made in standard paper from the printer. In this module, we tested the glossy surface paper, balsa, cardboard and polypropylene. Finally we chose the polypropylene by its stable property. The polypropylene sold in Fablab is only in one size, 600*600mm, and the cutting area of the machine is 600*900mm. But the largest panel in our design is nearly two meter long when it is unfolded. So we visited many different suppliers and found the black polypropylene we need in standard A0 size. We divided our single panel in three separate panels and finally fit the design to the material and the material to the laser cutter. The final outcome of this module is what we expected but there are still things which can be improved. The way to connect two pieces of polypropylene can be research deeper instead of using superglue with poor fixation on the sharpness and messy finish marks.
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4.0 REFLECTION
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Digital design and fabrication introduced me to the 3D modelling and fabrication processes. It gives me new ideas and deeper understanding on the design process - from the concept to the design development to the manufacture. This semester task is designing and fabricating a sleeping pod with a concept in second skin. Different with other subject in my major, we were not only designing a project as “paper work”, but have to make it out in a 1:1 scale. This means we can not only consider the concepts of the design but the tectonics to achieve it. The whole process is based on problem solving. In the first module, a selected object was given to observe measure and analyse. By doing this exercise with the understanding of lectures and reading content, I really have a new though on the preparation stage of a design. Like the pine cone I have been given, before this module, I would never think about the form and the structure of it or cut through it to see the section. In the second and third module, we are keeping developing the design and making the model. After laser cutting the panels, the folding and connecting work were still heavy. Like Paul described in the lecture, workmanship is important aspect to consider in a fabrication process. Charny, who is the curator of power of making at V&A Museum, London, said: “Craft always involves parameters, imposed by materials, tools, scale, and the physical body of the maker.” Every craftwork in the fabrication process should be seriously considered to achieve the better outcomes. However, there are always some challenge when apply a digital model to a real presentation model. At the end of the M2, the final prototype did not meet what we expected by
making a digital model in Rhino. We once thought to change our whole design into a totally different system at the beginning of M3. Our tutor James stopped us and help us to conclude the problems which blocked our development. The main problem is that we cannot control a one piece design on a paper to fold and curve like our digital model because of the unexpected 3 dimensional movement of the intersection of the folding lines. By solving this problem, we abandoned the concept of one piece and try to achieve the shape through separating the volumes into several panels which finally works. Another challenge in the fabrication process is also caused by the mismatch of the Rhino model and reality. To fill the gap between two panels in different sizes, we designed a series of patterns to create interesting lighting and shadow effects for our design. But when we got our laser cut pattern and try to connect them with panels, the forces from the nature of the structure bent the pattern in two different direction and twist it. Finally, we decided to abandon the pattern design and chose fabric to fill the gap and create light effects by overlapping.
The process was so tough. There are many problems about the digital modelling, group communication, digital fabrication and other things. But proudly, we solved them and achieve a expected final outcome with lots of fun. I really benefit from this subject and project which refreshed my mind about design and fabrication like Rifkin and Macmillan (2011) mentioned in “The Third Industrial Revolution” that digital fabrication is more efficient and sustainable to instead of many traditional manufacturing.
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5.0 APPENDIX
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5.1 Bibliography
1. Enric Miralles,Carme Pinos,1988/1991, “How to lay out a croissant� El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240-241 2. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.A 3. Asperl, A, Hofer, M, Pottmann, H, Kilian, A 2007, Architectural Geometry, Bentley Institute Press. 4. Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing, Spon Press, London. 5. Rifkin, J 2011, The third industrial revolution, Palgrave Macmillan./
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5.2 Credit table
Zehua He
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Yuhan Hou
Lachlan Welsh